learning about intercultural histories, and the narratives of Japanese American settlement and internal migrations during the twentieth century. As museums, they can mediate learning between cultures, and between the present and past (Tan, 2019 : 2). As artworks, they can enrich culturally informed sensibilities, aesthetic knowledge, and culturally conditioned values. These gardens are lieux de mémoire , sites of memory (Boer, 2008 ; Assmann, 2011 ; Bublatzky, 2019 ), which sustain traces of the past that continue to condition appreciations of the present. Their
myself in in the Brooklyn Museum, then hosting a retrospective exhibition of Lee Krasner curated by the art historian Robert Hobbs. The show was just about to complete its four-venue tour, which had started at the Los Angeles County Museum on 10 October 1999. I visited the show early on a Saturday morning. My abiding, and melancholy, memory is the sound of my own solitary footsteps on the wooden floors, echoing through the otherwise empty galleries. (It was the last few days of a show that had opened there on 6 October 2000
3 Spatial and architectural memory in oral histories of working life Introduction What happens if we invert the cliche ‘if walls could talk?’ and explore what former factory workers might say about those walls? At first this may sound absurd, but in a broad sense this chapter demonstrates this very approach, for it is here that we turn our attention to the richness of content contained within workers’ memories of the buildings in which they worked. While the disciplines of oral history, design history and architectural history are all beginning to engage with
What was the process by which an antiquity found on the streets of Rome became the subject of a Renaissance engraving? How did engraving preserve the memory of such antiquities as they vanished into the homes of private collectors, were plundered or destroyed? This article focuses on Marcantonio Raimondis Lion Hunt to explore the relationship between ancient sculpture and the medium of print in Raphaels Rome.
This article and checklist present the contents of the Spencer Album of Marcantonio Raimondi prints, long considered to be lost. By examining its composition and tracing its provenance from the Spencer collection at Althorp House to the John Rylands Library, Manchester, we offer new insight into how attitudes toward Marcantonio Raimondi‘s work evolved during the eighteenth and nineteenth centuries, particularly in Great Britain. Our article also explores Victorian collecting practices and the importance of the graphic arts for Mrs Rylands‘s vision for the Library to be dedicated to her late husband‘s memory.
In living memory, Manchester was black from air pollution caused by burning coal. Today only fragments of that blackness remain, although its former presence can be inferred from precautions taken at the time to protect buildings from soot. At Canal Street in Miles Platting the colouring caused by consuming coal was blue, the result of contamination with a by-product of the purification of coal-gas. It is argued that because the blue street can be seen as beautiful then so can the black walls, which should be treated as an authentic part of the city. The most significant remains are 22 Lever Street and the inner courtyards of the Town Hall, which ought to be preserved in their dirty state.
Celebrated as a leader of London’s ‘Underground’ in the 1960–70s, and a leading British poet and performance artist of his time, Jeff Nuttall found fame through his critique of post-nuclear culture, Bomb Culture, which provided an influential rationale for artistic practice through absurdism but lost that recognition a decade or so later. Less well recognised, and with greater influence, is the distinctively visceral sensibility underlying much of his creative work, notably his poetry that draws on Dylan Thomas and the Beat Movement, his graphic drawing and luscious painting styles, and his pioneering performance art. This article argues that it is through these artistic expressions of visceral intelligence that Jeff Nuttall’s art and its long-term influence can now best be understood. It is intended to complement the Jeff Nuttall Papers in the Special Collections of The John Rylands Research Institute and Library, University of Manchester, deposited by the gallerist and poetry publisher Robert Bank (1941–2015), to whose memory this article is dedicated. Further papers have been added by Nuttall’s friends and relatives.
The show at the Pitti Palace triggered a wave of discussions in the Italian press over the Baroque afterlife. Some commentators, such as Giorgio de Chirico, decried the public’s interest in a period of art that they perceived as decadent and corrupt; others saw positive similarities between the authoritarian politics of the Counter-Reformation and the ascent to power of the Fascist regime. Chapter 5 investigates a little-known episode of Fascist architectural culture: Baroque features in a considerable number of public and private buildings built during the interwar period. Allusions to the work of Borromini, Bernini, and Maderno, schools, ministries, convents, and apartment buildings require an understanding of Fascist architecture beyond the framework in which it is usually written - beyond the opposition of classicism and rationalism, nostalgia, and modernism. Rather, the chapter shows that during the Fascist ventennio the Baroque was considered a suitable style to display the Italian nation’s imperialistic ambitions, much as it had been in 1911.
In attempting to understand and articulate the complexities of memory, we often turn to metaphorical language. Words such as ‘imprint’ and ‘impression’, terms reminiscent of the fundamental language of printmaking, create a sense of the past remaining visible in traces left behind, of experience literally leaving its mark upon us. The
to 1986. Zachmann – an avowed atheist, but of Jewish heritage – seeks to explore the meaning of Jewishness and what it means to be a Jew in late twentieth-century France. Although aware that his grandparents had died at Auschwitz, Zachmann knew little else before starting his project; neither brought up as a Jew nor growing up in a Jewish environment. His book – given its title – therefore begins from an eminent paradox: how can one document a memory that one has never had? The subsequent section turns to film to probe further how the memory and history of Jewish