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Bulletin of the John Rylands Library
Kathryn Reeves

and contemporary construction of the field. Little work has been done in printmaking related to semiotics, feminism, or psychoanalysis. This paper is a call for a new history and historiography of printmaking and, more than anything, is a call for dialogue that would examine the ways in which printmaking relates to the important theoretical issues of our time. Re-visioning a

in Perspectives on contemporary printmaking
Kimberly Lamm

does state that she is going to use psychoanalysis as a ‘political weapon’ to destroy the cinematic pleasures that reinforce the position of the femininine as castrated in the patriarchal unconscious.3 She also writes that Hollywood cinema’s invisible work ‘satisf[ying]’ and ‘reinforc[ing]’ the masculine ego must be ‘attacked.’4 And yet, Mulvey’s militant vocabulary does not dominate the text, though it does underscore Mandy Merck’s argument that ‘Visual Pleasure’ is, at its heart, a feminist manifesto. Building upon Mulvey’s description of the essay’s stance as

in Addressing the other woman
Abstract only
A thousand contradictions
Marc James Léger

relations within everyday life obscures the basis of exploitation. Psychoanalysis, however, does not consider the function of ideology at the level of objective conditions, but at the level of subjectivity. Even Karl Marx addressed the ‘metaphysical subtleties and theological niceties’ of the commodity. In Brave New Avant Garde I made a case for what I refer to as sinthomeopathic practices – projects that rely on contradictory forms of identification with the symptoms and institutions of art under contemporary capitalism. The works by Andrea

in Vanguardia
Catherine Spencer

sociological models were data-driven and evidence-based, but also intimately intertwined with psychoanalysis, psychology, structuralism and semiotics. 46 As Mariano Ben Plotkin notes in his history of psychoanalysis in Argentina, students of these subjects saw themselves as ‘agents’ of ‘modernization’. 47 Their commitment to sociology and psychology, together with the more established discourse of psychoanalysis, which had enjoyed huge influence in Argentina since the 1920s, provided them with tools to analyse rapid sociocultural change, and in turn affirmed their

in Beyond the Happening
Abstract only
Communication studies
Catherine Spencer

galvanised multiple disciplines after the Second World War, including sociology, anthropology, mathematics and engineering, psychology, psychiatry and antipsychiatry, as well as revisionist approaches to psychoanalysis. Equally, as early as 1961 Johnston perceptively noted with regard to Happenings that ‘a concern with communication must have played a part in the formative period, and now that concern, or the results at least, assume special importance’. 46 The centrality of this concern reflected the growth of communications theory in sociology and psychology during

in Beyond the Happening
Rethinking art, media, and the audio-visual contract
Author: Ming-Yuen S. Ma

There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.

Der Blaue Reiter and its legacies
Author: Dorothy Price

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.

Visualising a changing city

Delving into a hitherto unexplored aspect of Irish art history, Painting Dublin, 1886–1949 examines the depiction of Dublin by artists from the late-nineteenth to the mid-twentieth century. Artists’ representations of the city have long been markers of civic pride and identity, yet in Ireland, such artworks have been overlooked in favour of the rural and pastoral, falling outside of the dominant disciplinary narratives of nationalism or modernism. Framed by the shift from city of empire to capital of an independent republic, this book chiefly examines artworks by of Walter Frederick Osborne (1857–1903), Rose Mary Barton (1856–1929), Jack Butler Yeats (1871–1957), Harry Aaron Kernoff (1900–74), Estella Frances Solomons (1882–1968), and Flora Hippisley Mitchell (1890–1973), encompassing a variety of urban views and artistic themes. While Dublin is renowned for its representation in literature, this book will demonstrate how the city was also the subject of a range of visual depictions, including those in painting and print. Focusing on the images created by these artists as they navigated the city’s streets, this book offers a vivid visualisation of Dublin and its inhabitants, challenging a reengagement with Ireland’s art history through the prism of the city and urban life.

Kimberly Lamm

commitment to feminist activism: the installation Women and Work: A Document on the Division of Labour in Industry (1973–1975), produced with Kay Hunt and Margaret Harrison, and the documentary Nightcleaners (1975), produced by the Berwick Film Collective, of which Kelly was a member. Significant in and of themselves, these are important background texts for PPD. They reveal the entrenched connection between maternal femininity and devalued forms of work. They also bring Kelly’s engagement with psychoanalysis into relief and underscore the crucial role text and images of

in Addressing the other woman