Access your Project MUSE content using one of the login options below Close(X)
Browse Results For:
A mode of mobility
Journeying across the globe – from a skyscraper in Vancouver, B.C., to a department store in Los Angeles, and from super-cinemas in Bombay (Mumbai) to radio cabinets in Canadian living rooms – this richly illustrated book examines the reach of Art Deco as it affected public cultures.
La représentation en jeu
Si les années 1980 ont correspondu à un reflux du politique et, du même coup, à une mise en veilleuse des débats sur l’engagement de l’art qui avaient agité le XXe siècle, il n’en reste pas moins qu’on a peut-être été trop prompt à en proclamer la caducité. La réflexion théorique sur les rapports entre l’art et le politique, qui avait pu sembler tarie, se renouvelle depuis une décennie en tentant de dépasser l’aporie des conceptions fondées sur la notion de représentation aussi bien que celles qui reposent sur l’homologie entre transgression formelle et révolution politique. Le présent ouvrage entend cerner ce point de tangence de l’art et du politique. Réunissant des collaborateurs appartenant à plusieurs disciplines, il présente une série d’aperçus sur la manière dont le théâtre, le cinéma, la littérature ainsi que les arts visuels et performatifs négocient, à la fin du XXe siècle, leur insertion dans le champ politique. Provenant d’horizons divers, mais avec un centre de gravité québécois, les auteurs sont historiens, critiques ou politologues; leurs études brossent un état des lieux de la création contemporaine. Si le primat de la représentation dans la lecture politique de l’art y paraît ébranlé, on constate que la représentation elle-même n’a peut-être pas perdu toute pertinence, dans la mesure où elle n’a pas cessé d’être mise en jeu.
The Story of the Owatonna Art Education Project
America's Illustrated Magazines of the 1840s
How did the average American learn about art in the mid-nineteenth century? With public art museums still in their infancy, and few cities and towns large enough to support art galleries or print shops, Americans relied on mass-circulated illustrated magazines. One group of magazines in particular, known collectively as the Philadelphia pictorials, circulated fine art engravings of paintings, some produced exclusively for circulation in these monthlies, to an eager middle-class reading audience. These magazines achieved print circulations far exceeding those of other print media (such as illustrated gift books, or catalogs from art-union membership organizations). Godey's , Graham's Peterson's Miss Leslie's and Sartain's Union Magazine included two to three fine art engravings monthly, "tipped in" to the fronts of the magazines, and designed for pull-out and display. Featuring the work of a fledgling group of American artists who chose American rather than European themes for their paintings, these magazines were crucial to the distribution of American art beyond the purview of the East Coast elite to a widespread middle-class audience. Contributions to these magazines enabled many an American artist and engraver to earn, for the first time in the young nation's history, a modest living through art. Author Cynthia Lee Patterson examines the economics of artistic production, innovative engraving techniques, regional imitators, the textual "illustrations" accompanying engravings, and the principal artists and engravers contributing to these magazines.
Art in the Lives of Immigrant Communities in the United States is the first book to provide a comprehensive and lively analysis of the contributions of artists from America's newest immigrant communities-Africa, the Middle East, China, India, Southeast Asia, Central America, and Mexico. Adding significantly to our understanding of both the arts and immigration, multidisciplinary scholars explore tensions that artists face in forging careers in a new world and navigating between their home communities and the larger society.
Feminist Effects in 1970s British Art and Performance
Contrary to critics who have called it the “undecade,” the 1970s were a time of risky, innovative art—and nowhere more so than in Britain, where the forces of feminism and labor politics merged in a radical new aesthetic. In Art Labor, Sex Politics Siona Wilson investigates the charged relationship of sex and labor politics as it played out in the making of feminist art in 1970s Britain. Her sustained exploration of works of experimental film, installation, performance, and photography maps the intersection of feminist and leftist projects in the artistic practices of this heady period.
Collective practice, grassroots activism, and iconoclastic challenges to society’s sexual norms are all fundamental elements of this theoretically informed history. The book provides fresh assessments of key feminist figures and introduces readers to less widely known artists such as Jo Spence and controversial groups like COUM Transmissions. Wilson’s interpretations of two of the best-known (and infamous) exhibitions of feminist art—Mary Kelly’s Post-Partum Document and COUM Transmissions’ Prostitution—supply a historical context that reveals these works anew. Together these analyses demonstrate that feminist attention to sexual difference, sex, and psychic formation reconfigures received categories of labor and politics.
How—and how much—do sexual politics transform our approach to aesthetic debates? What effect do the tropes of sexual difference and labor have on the very conception of the political within cultural practice? These are the questions that animate Art Labor, Sex Politics as it illuminates an intense and influential decade of intellectual and artistic experimentation.
Themes and Variations from Prehistory to the Present
Taking a new approach to traditional Andean art that links prehistory with the present, this book illustrates the ongoing legacy of the past in contemporary art and the importance of art not only as a way of expressing religious ideas rooted in nature, but also as a means of resisting discrimination and oppression.
Christian Visual Culture in the Kingdom of Kongo
Between the sixteenth and the nineteenth centuries, the west central African kingdom of Kongo practiced Christianity and actively participated in the Atlantic world as an independent, cosmopolitan realm. Drawing on an expansive and largely unpublished set of objects, images, and documents, Fromont examines the advent of Kongo Christian visual culture and traces its development across four centuries marked by war, the Atlantic slave trade, and, finally, the rise of nineteenth-century European colonialism. By offering an extensive analysis of the religious, political, and artistic innovations through which the Kongo embraced Christianity, Fromont approaches the country's conversion as a dynamic process that unfolded across centuries.