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Dance, Music, Theater, and the Visual Arts, 1955-1980
This work explains how and why Japan supports a community of professional dancers, musicians, production companies, and visual artists that has nearly tripled in size during the past 25 years.
Originally published in 1982.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
American Literary Realism and Graphic Illustration, 1880-1905
50 Episodes of Intimate History
During the 1960s AND 1970S in New York City, young artists exploited an industrial wasteland to create spacious studios where they lived and worked, redefining the Manhattan area just South of Houston Street. Fueled not by city planning schemes but by word-of-mouth recommendations, the area soon grew to become a world-class center for artistic creation—indeed the largest urban artists’ colony ever in America, let alone the world. _x000B_Richard Kostelanetz’s Artists’ SoHo examines not only why the artists came and how they accomplished what they did, but also delves into the lives and works of some of the most creative personalities who lived there during that period, including Nam June Paik, Robert Wilson, Meredith Monk, Richard Foreman, Hannah Wilke, George Macuinas, and Alan Suicide. Gallerists followed the artists in fashioning themselves, their homes, their buildings, and even their streets into transiently prominent exhibition and performance spaces. _x000B_ _x000B_SoHo pioneer Richard Kostelanetz’s extensively researched Intimate History is framed within a personal memoir that unearths myriad perspectives: social and cultural history history, the changing rules for residency and ownership, the ethos of the community, the physical layouts of the lofts, the types of art produced, venues that opened and closed, the daily rhythm, and the graduate invasion of “new people”. SoHo also explores how and why this fertile bohemia couldn’t last forever. As wealthier people paid higher prices, galleries left, younger artists settled elsewhere, and the neighborhood became a “SoHo Mall” of trendy stores and restaurants._x000B_ _x000B_Compelling and often humorous, ARTISTS' SoHo provides an analysis of a remarkable neighborhood that transformed the art and culture of New York City over the last five decades. _x000B_
History and Heritage in New England
This book offers the first full-scale examination of the architecture associated with the Arts and Crafts movement that spread throughout New England at the turn of the twentieth century.
Although interest in the Arts and Crafts movement has grown since the 1970s, the literature on New England has focused on craft production. Meister traces the history of the movement from its origins in mid-nineteenth-century England to its arrival in the United States and describes how Boston architects including H. H. Richardson embraced its tenets in the 1870s and 1880s. She then turns to the next generation of designers, examining buildings by twelve of the region’s most prominent architects, eleven men and a woman, who assumed leadership roles in the Society of Arts and Crafts, founded in Boston in 1897. Among them are Ralph Adams Cram, Lois Lilley Howe, Charles Maginnis, and H. Langford Warren. They promoted designs based on historical precedent and the region’s heritage while encouraging well-executed ornament. Meister also discusses revered cultural personalities who influenced the architects, notably Ralph Waldo Emerson and art historian Charles Eliot Norton, as well as contemporaries who shared their concerns, such as Louis Brandeis. Conservative though the architects were in the styles they favored, they also were forward-looking, blending Arts and Crafts values with Progressive Era idealism. Open to new materials and building types, they made lasting contributions, with many of their designs now landmarks honored in cities and towns across New England.
Taking Aesthetic Action In and Beyond the Truth and Reconciliation Commission of Canada
Arts of Engagement focuses on the role that music, film, visual art, and Indigenous cultural practices play in and beyond Canada’s Truth and Reconciliation Commission on Indian Residential Schools. Contributors here examine the impact of aesthetic and sensory experience in residential school history, at TRC national and community events, and in artwork and exhibitions not affiliated with the TRC. Using the framework of “aesthetic action,” the essays expand the frame of aesthetics to include visual, aural, and kinetic sensory experience, and question the ways in which key components of reconciliation such as apology and witnessing have social and political effects for residential school survivors, intergenerational survivors, and settler publics.
This volume makes an important contribution to the discourse on reconciliation in Canada by examining how aesthetic and sensory interventions offer alternative forms of political action and healing. These forms of aesthetic action encompass both sensory appeals to empathize and invitations to join together in alliance and new relationships as well as refusals to follow the normative scripts of reconciliation. Such refusals are important in their assertion of new terms for conciliation, terms that resist the imperatives of reconciliation as a form of resolution.
This collection charts new ground by detailing the aesthetic grammars of reconciliation and conciliation. The authors document the efficacies of the TRC for the various Indigenous and settler publics it has addressed, and consider the future aesthetic actions that must be taken in order to move beyond what many have identified as the TRC’s political limitations.
Vol. 1 (2016) through current issue
ASAP/Journal is a peer-reviewed scholarly journal that explores new developments in post-1960s visual, media, literary, and performance arts. The scholarly publication of ASAP: The Association for the Study of the Arts of the Present, ASAP/Journal promotes intellectual exchange between artists and critics across the arts and humanities. The journal publishes methodologically cutting-edge, conceptually adventurous, and historically nuanced research about the arts of the present.
Asylum on the Hill is the story of a great American experiment in psychiatry, a revolution in care for those with mental illness, as seen through the example of the Athens Lunatic Asylum. Built in Southeast Ohio after the Civil War, the asylum embodied the nineteenth-century “gold standard” specifications of moral treatment. Stories of patients and their families, politicians, caregivers, and community illustrate how a village in the coalfields of the Hocking River Valley responded to a national impulse to provide compassionate care based on a curative landscape, exposure to the arts, outdoor exercise, useful occupation, and personal attention from a physician. Although ultimately doomed by overcrowding and overshadowed by the rise of new models of psychiatry, for twenty years the therapeutic community at Athens pursued moral treatment therapy with energy and optimism. Ziff’s fresh presentation of America’s nineteenth-century asylum movement shows how the Athens Lunatic Asylum accommodated political, economic, community, family, and individual needs and left an architectural legacy that has been uniquely renovated and repurposed.
The Hidden Landscapes of Domestic Service in Johannesburg
Despite their peaceful, bucolic appearance, the tree-lined streets of South African suburbia were no refuge from the racial tensions and indignities of apartheid’s most repressive years. In At Home with Apartheid, Rebecca Ginsburg provides an intimate examination of the cultural landscapes of Johannesburg’s middle- and upper-middle-class neighborhoods during the height of apartheid (c. 1960-1975) and incorporates recent scholarship on gender, the home, and family.
More subtly but no less significantly than factory floors, squatter camps, prisons, and courtrooms, the homes of white South Africans were sites of important contests between white privilege and black aspiration. Subtle negotiations within the domestic sphere between white, mostly female, householders and their black domestic workers, also primarily women, played out over and around this space. These seemingly mundane, private conflicts were part of larger contemporary struggles between whites and blacks over territory and power.
Ginsburg gives special attention to the distinct social and racial geographies produced by the workers’ detached living quarters, designed by builders and architects as landscape complements to the main houses. Ranch houses, Italianate villas, modernist cubes, and Victorian bungalows filled Johannesburg’s suburbs. What distinguished these neighborhoods from their precedents in the United States or the United Kingdom was the presence of the ubiquitous back rooms and of the African women who inhabited them in these otherwise exclusively white areas.
The author conducted more than seventy-five personal interviews for this book, an approach that sets it apart from other architectural histories. In addition to these oral accounts, Ginsburg draws from plans, drawings, and onsite analysis of the physical properties themselves. While the issues addressed span the disciplines of South African and architectural history, feminist studies, material culture studies, and psychology, the book’s strong narrative, powerful oral histories, and compelling subject matter bring the neighborhoods and residents it examines vividly to life.