Jennifer C. Lena
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9780691158914
- eISBN:
- 9780691189840
- Item type:
- book
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691158914.001.0001
- Subject:
- History, Social History
Two centuries ago, wealthy entrepreneurs founded the American cathedrals of culture—museums, theater companies, and symphony orchestras—to mirror European art. But today's American arts scene has ...
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Two centuries ago, wealthy entrepreneurs founded the American cathedrals of culture—museums, theater companies, and symphony orchestras—to mirror European art. But today's American arts scene has widened to embrace multitudes: photography, design, comics, graffiti, jazz, and many other forms of folk, vernacular, and popular culture. What led to this dramatic expansion? This book shows how organizational transformations in the American art world—amid a shifting political, economic, technological, and social landscape—made such change possible. By chronicling the development of American art from its earliest days to the present, the book demonstrates that while the American arts may be more open, they are still unequal. It examines key historical moments, such as the creation of the Museum of Primitive Art and the funneling of federal and state subsidies during the New Deal to support the production and display of culture. Charting the efforts to define American genres, styles, creators, and audiences, the book looks at the ways democratic values helped legitimate folk, vernacular, and commercial art, which was viewed as nonelite. Yet, even as art lovers have acquired an appreciation for more diverse culture, they carefully select and curate works that reflect their cosmopolitan, elite, and moral tastes.Less
Two centuries ago, wealthy entrepreneurs founded the American cathedrals of culture—museums, theater companies, and symphony orchestras—to mirror European art. But today's American arts scene has widened to embrace multitudes: photography, design, comics, graffiti, jazz, and many other forms of folk, vernacular, and popular culture. What led to this dramatic expansion? This book shows how organizational transformations in the American art world—amid a shifting political, economic, technological, and social landscape—made such change possible. By chronicling the development of American art from its earliest days to the present, the book demonstrates that while the American arts may be more open, they are still unequal. It examines key historical moments, such as the creation of the Museum of Primitive Art and the funneling of federal and state subsidies during the New Deal to support the production and display of culture. Charting the efforts to define American genres, styles, creators, and audiences, the book looks at the ways democratic values helped legitimate folk, vernacular, and commercial art, which was viewed as nonelite. Yet, even as art lovers have acquired an appreciation for more diverse culture, they carefully select and curate works that reflect their cosmopolitan, elite, and moral tastes.
Karen Mary Davalos
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781479877966
- eISBN:
- 9781479825165
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479877966.003.0003
- Subject:
- Society and Culture, Latin American Studies
This chapter traces the origins of the first Chicano arts organizations and explores how they combine art and commerce, two areas previously considered distinct and contradictory. Focusing on the ...
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This chapter traces the origins of the first Chicano arts organizations and explores how they combine art and commerce, two areas previously considered distinct and contradictory. Focusing on the period 1969–1978, the chapter illustrates how the earliest ventures operated with complex and nuanced views about commerce, politics, community, and the arts. It challenges notions in Chicana/o studies that dismiss commerce as antithetical to Chicano movement or community politics, and it finds that Mechicano Art Center and Goez Art Studios and Gallery exceed notions of civic and cultural engagement, inaugurated pedagogies now central in Chicana/o studies and arts institutions, and mapped a decolonial imaginary for Los Angeles.Less
This chapter traces the origins of the first Chicano arts organizations and explores how they combine art and commerce, two areas previously considered distinct and contradictory. Focusing on the period 1969–1978, the chapter illustrates how the earliest ventures operated with complex and nuanced views about commerce, politics, community, and the arts. It challenges notions in Chicana/o studies that dismiss commerce as antithetical to Chicano movement or community politics, and it finds that Mechicano Art Center and Goez Art Studios and Gallery exceed notions of civic and cultural engagement, inaugurated pedagogies now central in Chicana/o studies and arts institutions, and mapped a decolonial imaginary for Los Angeles.
Jesse Matz
- Published in print:
- 2017
- Published Online:
- January 2019
- ISBN:
- 9780231164061
- eISBN:
- 9780231543057
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231164061.003.0007
- Subject:
- Society and Culture, Cultural Studies
How the impressionist optic persists apparently unchanged in the very different forms of contemporary painting by Peter Doig and Thomas Kinkade—one a cutting-edge post-conceptual artist, the other ...
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How the impressionist optic persists apparently unchanged in the very different forms of contemporary painting by Peter Doig and Thomas Kinkade—one a cutting-edge post-conceptual artist, the other the “artist in the mall,” but both kitsch in ways that transform the meaning of that term.Less
How the impressionist optic persists apparently unchanged in the very different forms of contemporary painting by Peter Doig and Thomas Kinkade—one a cutting-edge post-conceptual artist, the other the “artist in the mall,” but both kitsch in ways that transform the meaning of that term.
Gennifer Weisenfeld
- Published in print:
- 2011
- Published Online:
- November 2016
- ISBN:
- 9780824834418
- eISBN:
- 9780824871239
- Item type:
- chapter
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824834418.003.0004
- Subject:
- History, Asian History
This chapter examines how the arts flourished in Japan during the interwar period. It first considers a range of Japanese artists who began forming local avant-gardist associations at the beginning ...
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This chapter examines how the arts flourished in Japan during the interwar period. It first considers a range of Japanese artists who began forming local avant-gardist associations at the beginning of the 1920s, with particular emphasis on Mavo and its impact on the contemporary art establishment as well as the art criticism of the period. It then discusses the growth of artistic endeavors, led by Mavo artists, following the Great Kantō Earthquake that struck Tokyo in 1923. It then turns to the Third Section Plastic Arts Association, or Sanka, and its activities in the art world, along with the rise of the proletarian arts movement whose members included artists sympathetic to socialism. It also looks at the emergence of commercial art as a field of artistic practice that explicitly put aesthetics in the service of commerce. Finally, it describes the modernist art of a group of commercial designers and photographers called Nippon Kōbō (Japan Studio).Less
This chapter examines how the arts flourished in Japan during the interwar period. It first considers a range of Japanese artists who began forming local avant-gardist associations at the beginning of the 1920s, with particular emphasis on Mavo and its impact on the contemporary art establishment as well as the art criticism of the period. It then discusses the growth of artistic endeavors, led by Mavo artists, following the Great Kantō Earthquake that struck Tokyo in 1923. It then turns to the Third Section Plastic Arts Association, or Sanka, and its activities in the art world, along with the rise of the proletarian arts movement whose members included artists sympathetic to socialism. It also looks at the emergence of commercial art as a field of artistic practice that explicitly put aesthetics in the service of commerce. Finally, it describes the modernist art of a group of commercial designers and photographers called Nippon Kōbō (Japan Studio).
Matthew Jarron
- Published in print:
- 2011
- Published Online:
- September 2015
- ISBN:
- 9781845860905
- eISBN:
- 9781474406031
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781845860905.003.0007
- Subject:
- Society and Culture, Scottish Studies
This chapter examines the changing fortunes of art culture in Dundee from the late nineteenth century onwards. It attempts to explain its apparent decline in the twentieth century and subsequent ...
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This chapter examines the changing fortunes of art culture in Dundee from the late nineteenth century onwards. It attempts to explain its apparent decline in the twentieth century and subsequent renewal during the first few years of the twenty-first century. It argues that while artistic activity in the city continued unabated, the changing economic climate had a considerable impact on the nature of that activity. It also suggests that the increasing polarity of fine art and commercial art has led Dundee's success in the latter to be overlooked. Dundee is now establishing itself as a leader in the computer games industry, with graduates from both Duncan of Jordanstone College and the University of Abertay finding employment as artists and designers on some of the best-selling computer games in the country.Less
This chapter examines the changing fortunes of art culture in Dundee from the late nineteenth century onwards. It attempts to explain its apparent decline in the twentieth century and subsequent renewal during the first few years of the twenty-first century. It argues that while artistic activity in the city continued unabated, the changing economic climate had a considerable impact on the nature of that activity. It also suggests that the increasing polarity of fine art and commercial art has led Dundee's success in the latter to be overlooked. Dundee is now establishing itself as a leader in the computer games industry, with graduates from both Duncan of Jordanstone College and the University of Abertay finding employment as artists and designers on some of the best-selling computer games in the country.
Cathy Curtis
- Published in print:
- 2019
- Published Online:
- July 2019
- ISBN:
- 9780190908812
- eISBN:
- 9780190908843
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190908812.003.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
Born in 1922 in Richmond, Virginia, Nell Blaine was a rebellious only child, a loner fussed over by her mother. Her early years were plagued by serious vision problems, finally corrected in her ...
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Born in 1922 in Richmond, Virginia, Nell Blaine was a rebellious only child, a loner fussed over by her mother. Her early years were plagued by serious vision problems, finally corrected in her teens. She was active in extracurricular clubs in both high school and college, where she encountered avant-garde art for the first time. Although she had to drop out of college after two years for financial reasons, she took an evening class in painting that helped her connect with new ideas in art. Meanwhile, she worked at an advertising agency, gaining experience that would stand her in good stead years later when she needed to earn a living. At age twenty, she left for Manhattan, ignoring the pleas and threats of her mother.Less
Born in 1922 in Richmond, Virginia, Nell Blaine was a rebellious only child, a loner fussed over by her mother. Her early years were plagued by serious vision problems, finally corrected in her teens. She was active in extracurricular clubs in both high school and college, where she encountered avant-garde art for the first time. Although she had to drop out of college after two years for financial reasons, she took an evening class in painting that helped her connect with new ideas in art. Meanwhile, she worked at an advertising agency, gaining experience that would stand her in good stead years later when she needed to earn a living. At age twenty, she left for Manhattan, ignoring the pleas and threats of her mother.
John Cunningham
- Published in print:
- 2014
- Published Online:
- November 2015
- ISBN:
- 9780231171991
- eISBN:
- 9780231850704
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231171991.003.0006
- Subject:
- Film, Television and Radio, Film
This chapter focuses on Hungarian director István Szabó's so-called Mitteleuropa trilogy: Mephisto (1981), Colonel Redl (1985), and Hanussen (1988). Szabó has protested against the widely held ...
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This chapter focuses on Hungarian director István Szabó's so-called Mitteleuropa trilogy: Mephisto (1981), Colonel Redl (1985), and Hanussen (1988). Szabó has protested against the widely held assumption that Mephisto, Colonel Redl, and Hanussen make up a trilogy. They nevertheless share a number of important elements, thematically, historically, stylistically and in terms of personnel. Whether taken as a whole or considered separately, these three feature films constitute a major cinematic examination, treatment and engagement with the individual and his or her place within the troubled history of Central Europe. The films are also a consolidation and development of the shift away from a mode of filmmaking which worked within and sometimes experimented with various forms of New Wave and modernist practices, to a more transparent and linear style which hovers somewhere between classical Hollywood, commercial art cinema, literary adaptation and, at times, historical costume drama.Less
This chapter focuses on Hungarian director István Szabó's so-called Mitteleuropa trilogy: Mephisto (1981), Colonel Redl (1985), and Hanussen (1988). Szabó has protested against the widely held assumption that Mephisto, Colonel Redl, and Hanussen make up a trilogy. They nevertheless share a number of important elements, thematically, historically, stylistically and in terms of personnel. Whether taken as a whole or considered separately, these three feature films constitute a major cinematic examination, treatment and engagement with the individual and his or her place within the troubled history of Central Europe. The films are also a consolidation and development of the shift away from a mode of filmmaking which worked within and sometimes experimented with various forms of New Wave and modernist practices, to a more transparent and linear style which hovers somewhere between classical Hollywood, commercial art cinema, literary adaptation and, at times, historical costume drama.