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Bulletin of the John Rylands Library
Death, decay, and the Technological reliquaries, 1637–67
Erika Doss

pierced by metal pins or wires and perforated by plastic tubes and others studded with beads, hair, mirrors, and plastic insects (flies and butterflies). Thek’s first venture in this aesthetic direction, the meat-themed sculpture La corazza di Michelangelo , was made during the summer of 1963 in Sicily, where he had been invited to stay at the villa of Topazia Alliata

in Republics and empires
Der Blaue Reiter and its legacies

This book presents new research on the histories and legacies of the German Expressionist group, Der Blaue Reiter, the founding force behind modernist abstraction. For the first time Der Blaue Reiter is subjected to a variety of novel inter-disciplinary perspectives, ranging from a philosophical enquiry into its language and visual perception, to analyses of its gender dynamics, its reception at different historical junctures throughout the twentieth century, and its legacies for post-colonial aesthetic practices. The volume offers a new perspective on familiar aspects of Expressionism and abstraction, taking seriously the inheritance of modernism for the twenty-first century in ways that will help to recalibrate the field of Expressionist studies for future scholarship. Der Blaue Reiter still matters, the contributors argue, because the legacies of abstraction are still being debated by artists, writers, philosophers and cultural theorists today.

The illustrations of Jessie Marion King for Seven Happy Days
Carey Gibbons

watercolours on vellum with transparent washes of pastel pink, blue, and green, along with petals and butterflies in silver and gold. The series of watercolours Seven Happy Days was published in 1913 with additional drawings as a Christmas supplement for The Studio . The designs for the supplement are described by White as ‘among the later expressions of Jessie's Arcadian dream before the harsh realities of wartime brought about a change in her style’. 9 In 1910 King and Taylor moved

in Nineteenth-century women illustrators and cartoonists
Abstract only
Dominic Johnson

. Pressed on this principle of the blurring of art and life and her antipathy towards iconicity, Bean tells me, By being a continuum, art includes all the life ‘in between’. It’s just the truth of it. That’s how the work happens, in among other practices of life. So, those moments in a life that happen to have a photograph or a bit of video attached, they are simply butterflies caught in a net. The photograph or the video does not exclude the enormous and much more exciting territory of what led to that moment, and how different ways of working shifted and flowed. The

in Unlimited action
Assemblages of images and the production of knowledge
W. J. T. Mitchell

). The debate between scientific certainty and conjectural knowledge can never be finally resolved. We had better get used to vertigo. References Agamben, Giorgio. 2009. The Signature of All Things. Translated by Luca D’Isanto and Kevin Attell. New York: Zone Books. 85 Method, madness and montage Didi-​ Huberman, Georges. 2004. ‘Knowledge:  Movement (The Man Who Spoke to Butterflies).’ In Aby Warburg and the Image of Motion, edited by Philippe-​Alain Michaud, 7–​20. New York: Zone Books. Freedberg, David. 2005. ‘ “Warburg’s Mask”: A Study in Idolatry.’ In

in Image operations
Daniel Dezeuze and China from scroll to (TV) screen
Sarah Wilson

imperial capital.73 Later, butterflies fluttered in Dezeuze’s pastel series of 2003–04, Persistence du taoïsme (Everlastingness of Daoism); three diptychs – six painted ladders – the darker and longer scrolled at the base, were dedicated to the ancient Chinese artists Ma Lin, Shih Tao and Xu Xi in 2006.74 Dezeuze’s passage through media, from split canes to the cathode ray tube, his unique analysis of China’s moment of transition before 1989, his television-related arguments – the challenge of Mao to Confucius and Confucius to Mao – traces a specific trajectory, ending

in Art, Global Maoism and the Chinese Cultural Revolution
Abstract only
Between gas mask and carnival dance
Elza Adamowicz

, Tzara too evokes Taeuber’s dancing body in terms of abstract movement: ‘Miss S. Taeuber: delirious bizarreness in the spider of the hand vibrates rhythm rapidly ascending to the paroxysm of a beautiful capricious mocking madness’ (1917: 16; 1975: 558).26 Metaphors associating the dancer with the natural world frequently represent a further depersonalisation. For instance, in Richter’s description of the Laban students’ dance at the Saal zur Kaufleuten, referred to above, the dancers are transformed into butterflies: ‘In front of abstract backdrops (“cucumber

in Dada bodies
An interview with Marina Galvani
Bénédicte Miyamoto
Marie Ruiz

. We hope for a human encounter through the art, to celebrate resilience. This is how we used art to support projects of the World Bank in Lebanon, where personnel working on social development were telling us that the different communities, local and displaced communities, from Syria for most, were not communicating at all, although funds for projects were available. The idea of Butterfly Project was to have art mediation workshops for children of these communities, from kindergarten to high-school, where they would come together and create stories together

in Art and migration
Abstract only
Helen Hills

– especially ecclesiastical architecture – is like a gigantic butterfly net, able to trap ‘spiritual experience’ and pass it on to its users. This conception of architecture as ‘capturing’ or ‘expressing’ pre-existing transcendent effects, termed ‘spiritual’, because visitors ‘recognize’ them as such (like the identification of the butterfly by reference to the pre-existing wallchart), reduces architecture to conveyor belt or tunnel through which something else can be transmitted. Like the butterfly, too, such ‘spirituality’, treated as transcendent, is divorced from and

in The matter of miracles