Ceren Özpınar and Mary Kelly (eds)
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9780197266748
- eISBN:
- 9780191938146
- Item type:
- book
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197266748.001.0001
- Subject:
- Art, Art History
Under the Skin: Feminist Art and Art Histories from the Middle East and North Africa Today is set out to show what is beneath the surface, under the appearances of skin, body, colour and provenance, ...
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Under the Skin: Feminist Art and Art Histories from the Middle East and North Africa Today is set out to show what is beneath the surface, under the appearances of skin, body, colour and provenance, and not the cultural fixities or partial views detached from the realities of communities, cultures and practices from the area. Through 12 chapters, Under the Skin brings together artistic practices and complex histories informed by feminism from diverse cultural and geographical contexts: Algeria, Egypt, Iran, Israel, Lebanon, Palestine, Saudi Arabia, Syria, Tunisia and Turkey. The aim is not to represent all of the countries from the Middle East and North Africa, but to present a cross-section that reflects the variety of nations, cultures, languages and identities across the area—including those of Berber, Mizrahi Jews, Kurdish, Muslim, Christian, Arab, Persian and Armenian peoples. It thus considers art informed by feminism through translocal and transnational lenses of diverse ethnic, linguistic and religious groups not solely as a manifestation of multiple and complex social constructions, but also as a crucial subject of analysis in the project of decolonising art history and contemporary visual culture. The volume offers an understanding on how art responds to and shapes cultural attitudes towards gender and sexuality, ethnicity/race, religion, tradition, modernity and contemporaneity, and local and global politics. And it strives to strike a balance by connecting the studies of scholars based in the European-North American geography with those attached to the institutions in the Middle East and North Africa in order to stimulate different feminist and decolonial perspectives and debates on art and visual culture from the area.Less
Under the Skin: Feminist Art and Art Histories from the Middle East and North Africa Today is set out to show what is beneath the surface, under the appearances of skin, body, colour and provenance, and not the cultural fixities or partial views detached from the realities of communities, cultures and practices from the area. Through 12 chapters, Under the Skin brings together artistic practices and complex histories informed by feminism from diverse cultural and geographical contexts: Algeria, Egypt, Iran, Israel, Lebanon, Palestine, Saudi Arabia, Syria, Tunisia and Turkey. The aim is not to represent all of the countries from the Middle East and North Africa, but to present a cross-section that reflects the variety of nations, cultures, languages and identities across the area—including those of Berber, Mizrahi Jews, Kurdish, Muslim, Christian, Arab, Persian and Armenian peoples. It thus considers art informed by feminism through translocal and transnational lenses of diverse ethnic, linguistic and religious groups not solely as a manifestation of multiple and complex social constructions, but also as a crucial subject of analysis in the project of decolonising art history and contemporary visual culture. The volume offers an understanding on how art responds to and shapes cultural attitudes towards gender and sexuality, ethnicity/race, religion, tradition, modernity and contemporaneity, and local and global politics. And it strives to strike a balance by connecting the studies of scholars based in the European-North American geography with those attached to the institutions in the Middle East and North Africa in order to stimulate different feminist and decolonial perspectives and debates on art and visual culture from the area.
Renée Levine Packer
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780199730773
- eISBN:
- 9780199863532
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199730773.003.0002
- Subject:
- Music, Popular, History, American
The Center of the Creative and Performing Arts in the State University of New York at Buffalo celebrates its tenth anniversary with a gala sold-out concert at the Albright-Knox Art Gallery that ...
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The Center of the Creative and Performing Arts in the State University of New York at Buffalo celebrates its tenth anniversary with a gala sold-out concert at the Albright-Knox Art Gallery that features Lukas Foss conducting Stravinsky's “L'Histoire du Soldat,” with local civic leaders, including Seymour Knox, in the speaking roles.Less
The Center of the Creative and Performing Arts in the State University of New York at Buffalo celebrates its tenth anniversary with a gala sold-out concert at the Albright-Knox Art Gallery that features Lukas Foss conducting Stravinsky's “L'Histoire du Soldat,” with local civic leaders, including Seymour Knox, in the speaking roles.
Lina M. Kattan
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9780197266748
- eISBN:
- 9780191938146
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197266748.003.0005
- Subject:
- Art, Art History
Saudi women artists challenge cultural boundaries to document change in the notions of identity and agency. These artists employ many experimental techniques through unconventional themes while ...
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Saudi women artists challenge cultural boundaries to document change in the notions of identity and agency. These artists employ many experimental techniques through unconventional themes while balancing cultural traditions, Saudi heritage, and Islamic identity. This chapter seeks to identify in what ways artists disrupt the commonly–known prohibition regarding figuration as relegated to the art of painting vis–á–vis photography, particularly in figurative depictions. It suggests two types of reality: the spiritual Real that is connected to painting, and the technological real, which is comparable to reality without a soul. It thus demonstrates how the interrelated concepts of art, reality, and the Real can impact values attached to representations of women in Saudi art. The chapter draws upon the frameworks of feminism, postcolonialism, Post–Panofskian iconography, and deconstruction.Less
Saudi women artists challenge cultural boundaries to document change in the notions of identity and agency. These artists employ many experimental techniques through unconventional themes while balancing cultural traditions, Saudi heritage, and Islamic identity. This chapter seeks to identify in what ways artists disrupt the commonly–known prohibition regarding figuration as relegated to the art of painting vis–á–vis photography, particularly in figurative depictions. It suggests two types of reality: the spiritual Real that is connected to painting, and the technological real, which is comparable to reality without a soul. It thus demonstrates how the interrelated concepts of art, reality, and the Real can impact values attached to representations of women in Saudi art. The chapter draws upon the frameworks of feminism, postcolonialism, Post–Panofskian iconography, and deconstruction.
Akila Kizzi
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9780197266748
- eISBN:
- 9780191938146
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197266748.003.0009
- Subject:
- Art, Art History
Exploring the artistic paths of the two Algerian Berberi women artists under French colonisation, this chapter aims to demonstrate how art could be transformed into a powerful expression of ...
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Exploring the artistic paths of the two Algerian Berberi women artists under French colonisation, this chapter aims to demonstrate how art could be transformed into a powerful expression of anticolonial and feminist thought. Baya Mahieddine (1931–98) distinguished herself in painting while Taos Amrouche (1913–76) was a singer of lyrical Berber songs (chants). In 1947, Surrealist André Breton came across both of their work and fascinated by their authentic artistic style, described them as the ‘beginning of an age of concord and radical break’ with the artistic thought of the era. The social and personal trajectory of the two women gave their art a dimension of the gendered imagination nourished by their ethnic origins. A quest for identity guided their work towards self–understanding, constituting a path to an exploration of the ‘other’. In order to show the impact of their personal experiences on their work, as well as the feminist thinking that emerges along the way, this chapter delves into the social and historical conditions of their artistic practices.Less
Exploring the artistic paths of the two Algerian Berberi women artists under French colonisation, this chapter aims to demonstrate how art could be transformed into a powerful expression of anticolonial and feminist thought. Baya Mahieddine (1931–98) distinguished herself in painting while Taos Amrouche (1913–76) was a singer of lyrical Berber songs (chants). In 1947, Surrealist André Breton came across both of their work and fascinated by their authentic artistic style, described them as the ‘beginning of an age of concord and radical break’ with the artistic thought of the era. The social and personal trajectory of the two women gave their art a dimension of the gendered imagination nourished by their ethnic origins. A quest for identity guided their work towards self–understanding, constituting a path to an exploration of the ‘other’. In order to show the impact of their personal experiences on their work, as well as the feminist thinking that emerges along the way, this chapter delves into the social and historical conditions of their artistic practices.
Jessica Gerschultz
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9780197266748
- eISBN:
- 9780191938146
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197266748.003.0010
- Subject:
- Art, Art History
This chapter reflects on feminist methodologies for research on women artists and art forms that are both feminised and racialised, existing on the fringes of art historical scholarship. The author’s ...
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This chapter reflects on feminist methodologies for research on women artists and art forms that are both feminised and racialised, existing on the fringes of art historical scholarship. The author’s recent work on women's weaving and fibre art sketches a productive pathway for crafting analytical approaches to asymmetrical relationships. Employing Sara Ahmed's writing on feminist sensations, citational relations, and the analogy of a 'wall', the chapter considers underlying reasons for the continued marginal status of women artists, 'feminine' space, and 'craft' production. Focal points of feminist labour include locating archival and artistic records, contending with their relative inaccessibility, invisibility, and vulnerability, and cultivating essential relationships around these materials. If tended to, these records and collaborative relationships yield an exciting picture and scholarship of care that work to destabilise hegemonic art histories.Less
This chapter reflects on feminist methodologies for research on women artists and art forms that are both feminised and racialised, existing on the fringes of art historical scholarship. The author’s recent work on women's weaving and fibre art sketches a productive pathway for crafting analytical approaches to asymmetrical relationships. Employing Sara Ahmed's writing on feminist sensations, citational relations, and the analogy of a 'wall', the chapter considers underlying reasons for the continued marginal status of women artists, 'feminine' space, and 'craft' production. Focal points of feminist labour include locating archival and artistic records, contending with their relative inaccessibility, invisibility, and vulnerability, and cultivating essential relationships around these materials. If tended to, these records and collaborative relationships yield an exciting picture and scholarship of care that work to destabilise hegemonic art histories.
Özpinar
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9780197266748
- eISBN:
- 9780191938146
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197266748.003.0012
- Subject:
- Art, Art History
Since the day it was inaugurated in 2004, the Istanbul Museum of Modern Art has assumed a pivotal role in re–establishing the history of modern and contemporary artistic practices in Turkey. The ...
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Since the day it was inaugurated in 2004, the Istanbul Museum of Modern Art has assumed a pivotal role in re–establishing the history of modern and contemporary artistic practices in Turkey. The major all–woman exhibition titled ‘Dream and Reality: Modern and Contemporary Women Artists from Turkey’, which was opened in late 2011 at Istanbul Modern, constitutes an important case study to prompt deeper exploration into the narrative frameworks within which the art museum reproduces differences. This chapter revisits the institutional and the curatorial discourse of ‘Dream and Reality’ by examining the statements released in the media and in catalogue essays with a view to comprehending the allegedly conflicting notions of gender and feminism on which the exhibition was premised and how differences were articulated against the politics of the state and art history writing. With this reconsideration, the chapter addresses the reverberations of these framings in the art histories of Turkey but also relocates them within the debates of art’s new transnational landscape.Less
Since the day it was inaugurated in 2004, the Istanbul Museum of Modern Art has assumed a pivotal role in re–establishing the history of modern and contemporary artistic practices in Turkey. The major all–woman exhibition titled ‘Dream and Reality: Modern and Contemporary Women Artists from Turkey’, which was opened in late 2011 at Istanbul Modern, constitutes an important case study to prompt deeper exploration into the narrative frameworks within which the art museum reproduces differences. This chapter revisits the institutional and the curatorial discourse of ‘Dream and Reality’ by examining the statements released in the media and in catalogue essays with a view to comprehending the allegedly conflicting notions of gender and feminism on which the exhibition was premised and how differences were articulated against the politics of the state and art history writing. With this reconsideration, the chapter addresses the reverberations of these framings in the art histories of Turkey but also relocates them within the debates of art’s new transnational landscape.
Terryl C. Givens
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780195167115
- eISBN:
- 9780199785599
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195167115.003.0019
- Subject:
- Religion, Religion and Society
The Paris Art Mission introduced European developments and training into Utah art at the turn of the century. Today, loose alliances like the New York Mormon Artists Group have supplanted efforts to ...
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The Paris Art Mission introduced European developments and training into Utah art at the turn of the century. Today, loose alliances like the New York Mormon Artists Group have supplanted efforts to create a self conscious style (as with the Art and Belief Movement). World class sculptors as well as prominent painters emerged by mid-century. A regular international art competition is the major vehicle for opening the church to cultural influences from beyond the United States.Less
The Paris Art Mission introduced European developments and training into Utah art at the turn of the century. Today, loose alliances like the New York Mormon Artists Group have supplanted efforts to create a self conscious style (as with the Art and Belief Movement). World class sculptors as well as prominent painters emerged by mid-century. A regular international art competition is the major vehicle for opening the church to cultural influences from beyond the United States.
Terryl C. Givens
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780195167115
- eISBN:
- 9780199785599
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195167115.003.0012
- Subject:
- Religion, Religion and Society
Portraiture was the first painterly genre. History paintings and the panorama then evolved. A Paris Art Mission showed unusual official support for art, but most patronage was limited to temple ...
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Portraiture was the first painterly genre. History paintings and the panorama then evolved. A Paris Art Mission showed unusual official support for art, but most patronage was limited to temple murals. Names like George Ottinger, C. C. A. Christensen, and Danquart Weggeland dominated the Utah period.Less
Portraiture was the first painterly genre. History paintings and the panorama then evolved. A Paris Art Mission showed unusual official support for art, but most patronage was limited to temple murals. Names like George Ottinger, C. C. A. Christensen, and Danquart Weggeland dominated the Utah period.
Nuno Barradas Jorge
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781474444538
- eISBN:
- 9781474481106
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474444538.001.0001
- Subject:
- Film, Television and Radio, Film
This is the first English-language study of internationally acclaimed Portuguese filmmaker Pedro Costa, examining the cultural, production and exhibition contexts of his feature films, shorts and ...
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This is the first English-language study of internationally acclaimed Portuguese filmmaker Pedro Costa, examining the cultural, production and exhibition contexts of his feature films, shorts and video installations. It situates Costa’s filmmaking within the contexts of Portuguese, European and global art film, looking into his working practices alongside the impact of digital video, forms of collaborative authorship, and the intricate dialogue between modes of production and aesthetics.
Considering the exhibition, circulation and reception of Costa’s creative output in settings such as film festivals, the art gallery circuit and the home video market, ReFocus: The Films of Pedro Costa provides an essential critical analysis of this major filmmaker – as well as of the multifaceted production and consumption practices that surround contemporary art cinema.Less
This is the first English-language study of internationally acclaimed Portuguese filmmaker Pedro Costa, examining the cultural, production and exhibition contexts of his feature films, shorts and video installations. It situates Costa’s filmmaking within the contexts of Portuguese, European and global art film, looking into his working practices alongside the impact of digital video, forms of collaborative authorship, and the intricate dialogue between modes of production and aesthetics.
Considering the exhibition, circulation and reception of Costa’s creative output in settings such as film festivals, the art gallery circuit and the home video market, ReFocus: The Films of Pedro Costa provides an essential critical analysis of this major filmmaker – as well as of the multifaceted production and consumption practices that surround contemporary art cinema.
Michael F. Leruth
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780262036498
- eISBN:
- 9780262339926
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262036498.001.0001
- Subject:
- Art, Visual Culture
This book introduces readers to the iconoclastic work of the French media artist Fred Forest. A pioneer in the fields of video art in the 1960s and internet art in the 1990s, and cofounder of the ...
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This book introduces readers to the iconoclastic work of the French media artist Fred Forest. A pioneer in the fields of video art in the 1960s and internet art in the 1990s, and cofounder of the Sociological Art Collective (1974) and the Aesthetics of Communication International Group (1983), Forest is best known as an ironic media hijacker and tinkerer of unconventional interfaces and alternative platforms for interactive communication that are accessible to the general public outside the exclusive precincts of the art world. He has also made headlines as an outspoken critic of the French contemporary art establishment, most famously by suing the Centre Pompidou in 1994 over its opaque acquisitions practices. This book surveys Forest’s work from the late 1960s to the present with particular emphasis on his prankster modus operandi, his advocacy of an existentially relevant form of counter-contemporary art―or “invisible system-art”―based on the principle of metacommunication (i.e., tasked with exploring the “immanent realities” of the virtual territory in which modern electronic communication takes place), his innovative “social” and “relational” use of a wide range of media from newspapers to Second Life, his attention-grabbing public interventions, and the unusual utopian dimension of his work. Never a hot commodity in the art world, Forest’s work has nonetheless garnered the attention and appreciation of a wide range of prominent intellectuals, critics, curators, technology innovators, and fellow artists including Marshall McLuhan, Edgar Morin, Vilém Flusser, Abraham Moles, Jean Duvignaud, Paul Virilio, Pierre Lévy, Pierre Restany, Frank Popper, Harald Szeeman, Robert C. Morgan, Vinton Cerf, Roy Ascott, and Eduardo Kac.Less
This book introduces readers to the iconoclastic work of the French media artist Fred Forest. A pioneer in the fields of video art in the 1960s and internet art in the 1990s, and cofounder of the Sociological Art Collective (1974) and the Aesthetics of Communication International Group (1983), Forest is best known as an ironic media hijacker and tinkerer of unconventional interfaces and alternative platforms for interactive communication that are accessible to the general public outside the exclusive precincts of the art world. He has also made headlines as an outspoken critic of the French contemporary art establishment, most famously by suing the Centre Pompidou in 1994 over its opaque acquisitions practices. This book surveys Forest’s work from the late 1960s to the present with particular emphasis on his prankster modus operandi, his advocacy of an existentially relevant form of counter-contemporary art―or “invisible system-art”―based on the principle of metacommunication (i.e., tasked with exploring the “immanent realities” of the virtual territory in which modern electronic communication takes place), his innovative “social” and “relational” use of a wide range of media from newspapers to Second Life, his attention-grabbing public interventions, and the unusual utopian dimension of his work. Never a hot commodity in the art world, Forest’s work has nonetheless garnered the attention and appreciation of a wide range of prominent intellectuals, critics, curators, technology innovators, and fellow artists including Marshall McLuhan, Edgar Morin, Vilém Flusser, Abraham Moles, Jean Duvignaud, Paul Virilio, Pierre Lévy, Pierre Restany, Frank Popper, Harald Szeeman, Robert C. Morgan, Vinton Cerf, Roy Ascott, and Eduardo Kac.
Carl A. Raschke
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780231173841
- eISBN:
- 9780231539623
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231173841.003.0003
- Subject:
- Religion, Philosophy of Religion
The difference between “value of origin” and “origin of value”—is what philosophy as genealogy seeks to discern and in the process opens up an interval at a site of experience that is neither ...
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The difference between “value of origin” and “origin of value”—is what philosophy as genealogy seeks to discern and in the process opens up an interval at a site of experience that is neither conceptual nor purely “aesthetic.” We may call this interval the space of the experience of art, which allows us to intuit both the force that gives rise to the experience and the event of its formation that illumines in its plasticity. But in recognizing this moment of valuation, genealogy goes even one step further. It arrives at the threshold of establishing how force sets in motion the kind of complex value structures and value assemblages that inform the collective life of humanity. In short, it seeks to ascertain the force that constitutes the political.Less
The difference between “value of origin” and “origin of value”—is what philosophy as genealogy seeks to discern and in the process opens up an interval at a site of experience that is neither conceptual nor purely “aesthetic.” We may call this interval the space of the experience of art, which allows us to intuit both the force that gives rise to the experience and the event of its formation that illumines in its plasticity. But in recognizing this moment of valuation, genealogy goes even one step further. It arrives at the threshold of establishing how force sets in motion the kind of complex value structures and value assemblages that inform the collective life of humanity. In short, it seeks to ascertain the force that constitutes the political.
Jared Pappas-Kelley
- Published in print:
- 2019
- Published Online:
- May 2019
- ISBN:
- 9781526129246
- eISBN:
- 9781526141927
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526129246.001.0001
- Subject:
- Art, Art Theory and Criticism
Solvent form examines the destruction of art—through objects that have been destroyed (lost in fires, floods, vandalism, or similarly those artists that actively court or represent this destruction, ...
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Solvent form examines the destruction of art—through objects that have been destroyed (lost in fires, floods, vandalism, or similarly those artists that actively court or represent this destruction, such as Gustav Metzger), but also as a process within art that the object courts through form. In this manner, Solvent form looks to events such as the Momart warehouse fire in 2004 as well as the actions of art thief Stéphane Breitwieser in which the stolen work was destroyed. Against this overlay, a tendency is mapped whereby individuals attempt to conceptually gather these destroyed or lost objects, to somehow recoup in their absence. From this vantage, Solvent form—hinging on the dual meaning in the words solvent and solvency—proposes an idea of art as an attempt to secure and fix, which correspondingly undoes and destroys through its inception. It also weaves a narrative of art that intermingles with Jean Baudrillard’s ideas on disappearance, Georges Bataille and Paul Virilio’s negative or reverse miracle, Jean-Luc Nancy’s concept of the image (or imago as votive that keeps present the past, yet also burns), and Giorgio Agamben’s notion of art as an attempt to make the moment appear permeable. Likewise, it is through these destructions that one might distinguish a solvency within art and catch an operation in which something is made visible through these moments of destruction when art’s metaphorical undoing emerges as oddly literal.Less
Solvent form examines the destruction of art—through objects that have been destroyed (lost in fires, floods, vandalism, or similarly those artists that actively court or represent this destruction, such as Gustav Metzger), but also as a process within art that the object courts through form. In this manner, Solvent form looks to events such as the Momart warehouse fire in 2004 as well as the actions of art thief Stéphane Breitwieser in which the stolen work was destroyed. Against this overlay, a tendency is mapped whereby individuals attempt to conceptually gather these destroyed or lost objects, to somehow recoup in their absence. From this vantage, Solvent form—hinging on the dual meaning in the words solvent and solvency—proposes an idea of art as an attempt to secure and fix, which correspondingly undoes and destroys through its inception. It also weaves a narrative of art that intermingles with Jean Baudrillard’s ideas on disappearance, Georges Bataille and Paul Virilio’s negative or reverse miracle, Jean-Luc Nancy’s concept of the image (or imago as votive that keeps present the past, yet also burns), and Giorgio Agamben’s notion of art as an attempt to make the moment appear permeable. Likewise, it is through these destructions that one might distinguish a solvency within art and catch an operation in which something is made visible through these moments of destruction when art’s metaphorical undoing emerges as oddly literal.
Matthew C. Hunter
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9780226390253
- eISBN:
- 9780226390390
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226390390.001.0001
- Subject:
- History, History of Science, Technology, and Medicine
Painting with Fire shows how experiments with chemicals known to change visibly over the course of time transformed British pictorial arts of the long eighteenth century—and how they can alter our ...
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Painting with Fire shows how experiments with chemicals known to change visibly over the course of time transformed British pictorial arts of the long eighteenth century—and how they can alter our conceptions of photography today. In the 1670s, experimental philosophers at the early Royal Society of London were studying the visual effects of dynamic combustibles. By the 1770s, that chemical volatility had become central to ambitious paintings in the circles of Sir Joshua Reynolds, premier portraitist and first president of Britain’s Royal Academy of Arts. Valued by some critics for changing in time (and thus, for prompting intellectual reflection on the nature of time), Reynolds’s unstable chemistry also prompted new techniques of chemical replication among Matthew Boulton, James Watt, and other leading industrialists. In turn, those replicas of chemically decaying academic paintings were rediscovered in the mid-nineteenth century and claimed as origin points in the history of photography. Tracing the arc of chemically produced and reproduced art from the 1670s through the 1860s, this book reconsiders early photography by situating it in relationship to Reynolds’s replicated paintings and the literal engines of British industry. By following the chemicals, Painting with Fire remaps familiar stories about academic painting and pictorial experiment amid the industrialization of chemical knowledge.Less
Painting with Fire shows how experiments with chemicals known to change visibly over the course of time transformed British pictorial arts of the long eighteenth century—and how they can alter our conceptions of photography today. In the 1670s, experimental philosophers at the early Royal Society of London were studying the visual effects of dynamic combustibles. By the 1770s, that chemical volatility had become central to ambitious paintings in the circles of Sir Joshua Reynolds, premier portraitist and first president of Britain’s Royal Academy of Arts. Valued by some critics for changing in time (and thus, for prompting intellectual reflection on the nature of time), Reynolds’s unstable chemistry also prompted new techniques of chemical replication among Matthew Boulton, James Watt, and other leading industrialists. In turn, those replicas of chemically decaying academic paintings were rediscovered in the mid-nineteenth century and claimed as origin points in the history of photography. Tracing the arc of chemically produced and reproduced art from the 1670s through the 1860s, this book reconsiders early photography by situating it in relationship to Reynolds’s replicated paintings and the literal engines of British industry. By following the chemicals, Painting with Fire remaps familiar stories about academic painting and pictorial experiment amid the industrialization of chemical knowledge.
Roberta Wue
- Published in print:
- 2014
- Published Online:
- September 2017
- ISBN:
- 9789888208463
- eISBN:
- 9789888313280
- Item type:
- book
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888208463.001.0001
- Subject:
- Art, Art History
The growth of Shanghai in the late nineteenth century gave rise to an exciting new art world in which a flourishing market in popular art became a highly visible part of the treaty port’s ...
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The growth of Shanghai in the late nineteenth century gave rise to an exciting new art world in which a flourishing market in popular art became a highly visible part of the treaty port’s commercialized culture. Art Worlds examines the relationship between the city’s visual artists and their urban audiences. Through a discussion of images ranging from fashionable painted fans to lithograph-illustrated magazines, the book explores how popular art intersected with broader cultural trends. It also investigates the multiple roles played by the modern Chinese artist as image-maker, entrepreneur, celebrity, and urban sojourner. Focusing on industrially produced images, mass advertisements, and other hitherto neglected sources, the book offers a new interpretation of late Qing visual culture at a watershed moment in the history of modern Chinese art.Less
The growth of Shanghai in the late nineteenth century gave rise to an exciting new art world in which a flourishing market in popular art became a highly visible part of the treaty port’s commercialized culture. Art Worlds examines the relationship between the city’s visual artists and their urban audiences. Through a discussion of images ranging from fashionable painted fans to lithograph-illustrated magazines, the book explores how popular art intersected with broader cultural trends. It also investigates the multiple roles played by the modern Chinese artist as image-maker, entrepreneur, celebrity, and urban sojourner. Focusing on industrially produced images, mass advertisements, and other hitherto neglected sources, the book offers a new interpretation of late Qing visual culture at a watershed moment in the history of modern Chinese art.
GerShun Avilez
- Published in print:
- 2016
- Published Online:
- April 2017
- ISBN:
- 9780252040122
- eISBN:
- 9780252098321
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252040122.001.0001
- Subject:
- Sociology, Race and Ethnicity
This book explores the long-overlooked links between Black Nationalist activism and the renaissance of artistic experimentation emerging from recent African American literature, visual art, and film. ...
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This book explores the long-overlooked links between Black Nationalist activism and the renaissance of artistic experimentation emerging from recent African American literature, visual art, and film. The book charts a new genealogy of contemporary African American artistic production that illuminates how questions of gender and sexuality guided artistic experimentation in the Black Arts Movement from the mid-1960s to the mid-1970s. As the book shows, the artistic production of the Black Arts era provides a set of critical methodologies and paradigms rooted in the disidentification with Black Nationalist discourses. The book studies how this emerging subjectivity, termed aesthetic radicalism, critiqued nationalist rhetoric in the past. It also continues to offer novel means for expressing black intimacy and embodiment via experimental works of art and innovative artistic methods. A bold addition to an advancing field, this book rewrites recent black cultural production even as it uncovers unexpected ways of locating black radicalism.Less
This book explores the long-overlooked links between Black Nationalist activism and the renaissance of artistic experimentation emerging from recent African American literature, visual art, and film. The book charts a new genealogy of contemporary African American artistic production that illuminates how questions of gender and sexuality guided artistic experimentation in the Black Arts Movement from the mid-1960s to the mid-1970s. As the book shows, the artistic production of the Black Arts era provides a set of critical methodologies and paradigms rooted in the disidentification with Black Nationalist discourses. The book studies how this emerging subjectivity, termed aesthetic radicalism, critiqued nationalist rhetoric in the past. It also continues to offer novel means for expressing black intimacy and embodiment via experimental works of art and innovative artistic methods. A bold addition to an advancing field, this book rewrites recent black cultural production even as it uncovers unexpected ways of locating black radicalism.
William Kostlevy
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780195377842
- eISBN:
- 9780199777204
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195377842.003.0007
- Subject:
- Religion, Church History
The defection of the MCA mission in Los Angeles to Pentecostalism in 1906 played an important role in the Azusa Street Revival. MCA evangelist A. G. Garr urged MCA adherents in Los Angeles to attend ...
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The defection of the MCA mission in Los Angeles to Pentecostalism in 1906 played an important role in the Azusa Street Revival. MCA evangelist A. G. Garr urged MCA adherents in Los Angeles to attend nearby revival meetings led by William Seymour. A. G. and Lillian Anderson Garr embraced the Pentecostal experience and spread the message to India where Garr played a key role spreading Pentecostalism and in the reinterpretation of the meaning of the Pentecostal his experience. Other central emphasize of the MCA entered early Pentecostalism including the notion of restitution and the rejection of divorce and remarriage. In Wisconsin F. M. Messenger invented the Scripture Text Calendar, a decorative art calendar, to fund the MCA and spread the gospel.Less
The defection of the MCA mission in Los Angeles to Pentecostalism in 1906 played an important role in the Azusa Street Revival. MCA evangelist A. G. Garr urged MCA adherents in Los Angeles to attend nearby revival meetings led by William Seymour. A. G. and Lillian Anderson Garr embraced the Pentecostal experience and spread the message to India where Garr played a key role spreading Pentecostalism and in the reinterpretation of the meaning of the Pentecostal his experience. Other central emphasize of the MCA entered early Pentecostalism including the notion of restitution and the rejection of divorce and remarriage. In Wisconsin F. M. Messenger invented the Scripture Text Calendar, a decorative art calendar, to fund the MCA and spread the gospel.
Michael Podro
- Published in print:
- 2003
- Published Online:
- January 2012
- ISBN:
- 9780197263020
- eISBN:
- 9780191734199
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197263020.003.0009
- Subject:
- History, Historiography
Ernst Gombrich was a prominent art historian in the UK and probably its best known humanist scholar during the last forty years of the 20th century. The status derived from two apparently unrelated ...
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Ernst Gombrich was a prominent art historian in the UK and probably its best known humanist scholar during the last forty years of the 20th century. The status derived from two apparently unrelated features of his work: he wrote deliberately for a wide audience, most obviously in his highly successful Story of Art first published in 1950, while his standing in the academic world, both within and beyond the field of art history, was established by Art and Illusion published in 1960; here he reconstructed some of the basic concepts in which the development of the visual arts could be discussed, introducing into the literature of art history a greatly enriched understanding of perceptual psychology. The two factors — his address to a general audience and his conceptual innovations in Art and Illusion — were intimately related because his use of experiments from the perceptual psychologists, appealing to effects which his readers and lecture audiences could test on themselves, lessened the sense that art was an arcane activity isolated from our everyday world.Less
Ernst Gombrich was a prominent art historian in the UK and probably its best known humanist scholar during the last forty years of the 20th century. The status derived from two apparently unrelated features of his work: he wrote deliberately for a wide audience, most obviously in his highly successful Story of Art first published in 1950, while his standing in the academic world, both within and beyond the field of art history, was established by Art and Illusion published in 1960; here he reconstructed some of the basic concepts in which the development of the visual arts could be discussed, introducing into the literature of art history a greatly enriched understanding of perceptual psychology. The two factors — his address to a general audience and his conceptual innovations in Art and Illusion — were intimately related because his use of experiments from the perceptual psychologists, appealing to effects which his readers and lecture audiences could test on themselves, lessened the sense that art was an arcane activity isolated from our everyday world.
Alexandra Green
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9789888390885
- eISBN:
- 9789882204850
- Item type:
- book
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888390885.001.0001
- Subject:
- Art, Art History
This volume draws upon art historical, anthropological, and religious studies methodologies to delineate the structures and details of late Burmese wall paintings and elucidate the religious, ...
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This volume draws upon art historical, anthropological, and religious studies methodologies to delineate the structures and details of late Burmese wall paintings and elucidate the religious, political, and social concepts driving the creation of this art form. The combination of architecture, paintings, sculpture, and literary traditions created a complete space in which devotees could interact with the Buddha through his biography. Through the standardization of a repertoire of specific forms, codes, and themes, the murals were themselves activating agents, spurring devotees to merit-making, worship, and other ritual practices, partially by establishing normative religious behavior and partly through visual incentives. Much of this was accomplished through the manipulation of space, and the volume contributes to the analysis of visual narratives by examining how the relationships between word and image, layouts, story and scene selection, and narrative themes both demonstrate and confirm social structures and changes, economic activities, and religious practices of seventeenth, eighteenth, and nineteenth century Burma. The visual material of the wall painting sites worked together with the sculpture and the architecture to create unified spaces in which devotees could interact with the Buddha. This analysis takes the narrative field beyond the concept that pictures are to be “read” and shows the multifarious and holistic ways in which they can be viewed. To enter temples of the seventeenth, eighteenth, and early nineteenth centuries was to enter a coherent space created by a visually articulated Burmese Buddhist world to which the devotee belonged by performing ritual activities within it.Less
This volume draws upon art historical, anthropological, and religious studies methodologies to delineate the structures and details of late Burmese wall paintings and elucidate the religious, political, and social concepts driving the creation of this art form. The combination of architecture, paintings, sculpture, and literary traditions created a complete space in which devotees could interact with the Buddha through his biography. Through the standardization of a repertoire of specific forms, codes, and themes, the murals were themselves activating agents, spurring devotees to merit-making, worship, and other ritual practices, partially by establishing normative religious behavior and partly through visual incentives. Much of this was accomplished through the manipulation of space, and the volume contributes to the analysis of visual narratives by examining how the relationships between word and image, layouts, story and scene selection, and narrative themes both demonstrate and confirm social structures and changes, economic activities, and religious practices of seventeenth, eighteenth, and nineteenth century Burma. The visual material of the wall painting sites worked together with the sculpture and the architecture to create unified spaces in which devotees could interact with the Buddha. This analysis takes the narrative field beyond the concept that pictures are to be “read” and shows the multifarious and holistic ways in which they can be viewed. To enter temples of the seventeenth, eighteenth, and early nineteenth centuries was to enter a coherent space created by a visually articulated Burmese Buddhist world to which the devotee belonged by performing ritual activities within it.
Gary D. Rhodes and Robert Singer
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781474460682
- eISBN:
- 9781474481083
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474460682.001.0001
- Subject:
- Film, Television and Radio, Film
The American television commercial exhibits an aesthetic and historical dynamic linking it directly to cinematic and media cultures. Consuming Images: Film Art and the American TelevisionCommercial ...
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The American television commercial exhibits an aesthetic and historical dynamic linking it directly to cinematic and media cultures. Consuming Images: Film Art and the American TelevisionCommercial establishes the complex vitality of the television commercial both as a short film and as an art form. Through close and comparative readings, the book examines the influence of Hollywood film styles on the television commercial, and the resulting influence of the television commercial on Hollywood, exploring an intertwined aesthetic and technical relationship.
Analysing key commercials over the decades that feature new technologies and film aesthetics that were subsequently adopted by feature filmmakers, the book establishes the television commercial as film art.Less
The American television commercial exhibits an aesthetic and historical dynamic linking it directly to cinematic and media cultures. Consuming Images: Film Art and the American TelevisionCommercial establishes the complex vitality of the television commercial both as a short film and as an art form. Through close and comparative readings, the book examines the influence of Hollywood film styles on the television commercial, and the resulting influence of the television commercial on Hollywood, exploring an intertwined aesthetic and technical relationship.
Analysing key commercials over the decades that feature new technologies and film aesthetics that were subsequently adopted by feature filmmakers, the book establishes the television commercial as film art.
Arieh Bruce Saposnik
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780195331219
- eISBN:
- 9780199868100
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195331219.003.0007
- Subject:
- Religion, Judaism
The principal focus of this chapter is the creation in 1906 of the Bezalel art school and museum. In its organizational structure as in the content of its art, Bezalel reflected the growing ...
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The principal focus of this chapter is the creation in 1906 of the Bezalel art school and museum. In its organizational structure as in the content of its art, Bezalel reflected the growing centrality of Palestine for Zionism and the increasing bond between Palestine and the Hebrew language. Bezalel would quickly emerge as an icon and a center of Hebrew culture. Its founder, Boris Schatz, conceived of Bezalel as a national temple and of art as the basis for a new Torah—highlighting the struggle to forge a transformed sense of sacred and profane that informed many Zionist undertakings. The Palestine office, established in 1908 and headed by Arthur Ruppin, became not only a further marker of Palestine's new prominence in Zionist thinking and praxis but also the fulcrum of a close alliance and eventually a near identity of interests between the Zionist Organization and the Yishuv.Less
The principal focus of this chapter is the creation in 1906 of the Bezalel art school and museum. In its organizational structure as in the content of its art, Bezalel reflected the growing centrality of Palestine for Zionism and the increasing bond between Palestine and the Hebrew language. Bezalel would quickly emerge as an icon and a center of Hebrew culture. Its founder, Boris Schatz, conceived of Bezalel as a national temple and of art as the basis for a new Torah—highlighting the struggle to forge a transformed sense of sacred and profane that informed many Zionist undertakings. The Palestine office, established in 1908 and headed by Arthur Ruppin, became not only a further marker of Palestine's new prominence in Zionist thinking and praxis but also the fulcrum of a close alliance and eventually a near identity of interests between the Zionist Organization and the Yishuv.
