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Photography and Memory in Contemporary Installation Art
While earlier theorists held up "experience" as the defining character of installation art, few people have had the opportunity to walk through celebrated installation pieces from the past. Instead, installation art of the past is known through archival photographs that limit, define, and frame the experience of the viewer. McTighe argues that the rise of photographic-based theories of perception and experience, coupled with the inherent closeness of installation art to the field of photography, had a profound impact on the very nature of installation art, leading to a flood of photography- and film-based installations. With its close readings of specific works, Framed Spaces will appeal to art historians and theorists across a broad spectrum of the visual arts.
Architecture, Economy, and Politics in the Twentieth Century
This edited collection offers a unique perspective on twentieth-century architectural history, disputing the primacy placed on individuals in the design and planning process and instead looks to the larger influences of politics, culture, economics, and globalization to uncover the roots of how our built environment evolves.
Vol. 20 (2000) through current issue
The Hemingway Review is published twice a year, in November and May, by The Hemingway Society and The University of Idaho Press. Averaging about 150 pages in length, each issue of the journal specializes in feature -length scholarly articles on the work and life of Ernest Hemingway, and also includes notes, book reviews, library information, and current bibliography. All critical approaches are welcome, including but not limited to historical, textual, biographical, source, and influence studies, as well as gender-based, multicultural, ecocritical, and other post-structuralist methods.
Symbolizing the Shoah in History and Memory
World War, Modern Art, and the Politics of Public Culture in Russia, 1914-1917
The Artist Proletariat and the Modernism’s rise in the Hungarian Art Market, 1800-1914
This important work by American historian Jeffrey Taylor, who spent the last two decades in Hungary and earned his PhD at Central European University in Budapest, serves to detail the nineteenth-century origin of the art market in a Central European nation as its economy was shifting from total dependence on agriculture to a mixed industrial/agricultural model during the Industrial Revolution. The creation of the Austro-Hungarian Monarchy in 1867 provided Hungary with a measure of equality with Austria, initiating a period when the social and cultural development of Hungary and its newly emerging professional and merchant classes provided a new marketplace, which while bourgeois in nature nevertheless brought “art” to a greater portion of the population. Taylor provides us with a fascinating history, beginning in eighteen hundred, of the art market of Hungary, of the rise of modernism and its conflict with traditional elements.
Vol. 44 (2006) through current issue
Founded in 1963 at the University of Tulsa by Thomas F. Staley, the James Joyce Quarterly has been the flagship journal of international Joyce studies ever since. In each issue, the JJQ brings together a wide array of critical and theoretical work focusing on the life, writing, and reception of James Joyce. We encourage submissions of all types, welcoming archival, historical, biographical, and critical research. Each issue of the JJQ provides a selection of peer-reviewed essays representing the very best in contemporary Joyce scholarship. In addition, the journal publishes notes, reviews, letters, a comprehensive checklist of recent Joyce-related publications, and the editor's "Raising the Wind" comments. The goal of the JJQ is simple: to provide an open, lively, and multidisciplinary forum for the international community of Joyce scholars, students, and enthusiasts.
Industrial Design for Modern Life
What should a television look like? How should a dial on a radio feel to the touch? These were questions John Vassos asked when the Radio Corporation of America (RCA) asked him to design the first mass-produced television receiver, the TRK-12, which had its spectacular premier at the 1939 New York World’s Fair. Vassos emigrated from Greece and arrived in the United States in 1918. His career spans the evolution of central forms of mass media in the twentieth century and offers a template for understanding their success. This is Vassos’s legacy—shaping the way we interact with our media technologies. Other industrial designers may be more celebrated, but none were more focused on making radio and television attractive and accessible to millions of Americans.
In John Vassos: Industrial Design for Modern Life, Danielle Shapiro is the first to examine the life and work of RCA’s key consultant designer through the rise of radio and television and into the computer era. Vassos conceived a vision for the look of new technologies still with us today. A founder of the Industrial Designers Society of America, he was instrumental in the development of a self-conscious industrial design profession during the late 1920s and 1930s and into the postwar period. Drawing on unpublished records and correspondence, Shapiro creates a portrait of a designer whose early artistic work in books like Phobia and Contempo critiqued the commercialization of modern life but whose later design work sought to accommodate it.
Replete with rich behind-the-product stories of America’s design culture in the 1930s through the 1950s, this volume also chronicles the emergence of what was to become the nation’s largest media company and provides a fascinating glimpse into its early corporate culture. In our current era of watching TV on an iPod or a smartphone, Shapiro stimulates broad discussions of the meaning of technological design for mass media in daily life.