Search results

You are looking at 1 - 10 of 87 items for :

  • "social class" x
  • Art, Architecture and Visual Culture x
  • Refine by access: All content x
Clear All
Abstract only
John M. MacKenzie

had experience of living in Northern Rhodesia (Zambia), where my father was a clerk of works in the Public Works Department (PWD), which was one of the key agencies of the colonies of the British Empire. SOCIAL CLASSES, RACE, AND BUILT AND NATURAL ENVIRONMENTS Experience of Glasgow and of Northern Rhodesia, together with all subsequent studies, created the conviction that empire was a highly complex and messy affair which endowed as well as endangered other societies (and reciprocally its own). It had the power to inspire as well as to injure, to be constructive as

in The British Empire through buildings
Abstract only
Jonathon Shears

Great Exhibition, 1851: A sourcebook are students and researchers new to the topic and particularly those who want to teach the subject without resorting to hours of trawling through primary texts to produce course material. So the book is primarily conceived as a teaching aid, but it also offers numerous departure points for researchers in the history of the Exhibition, and material culture more generally, and those working on specific issues such as British imperialism, social class and the representation of gender politics in the Victorian period. To a great degree

in The Great Exhibition, 1851
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.

Kuba Szreder

nightmarish dependence on fleeting opportunities for those who cannot. This artistic universe is superficially founded on an ideology of meritocracy and talent, which disguises class hierarchies (Malik 2013 ; Phillips and Malik 2012 ). The inequality enmeshed within a seemingly left-liberal artistic mainstream has moved recently to the centre of focus in the UK, denounced in actions and condemned by reports such as Panic! Social Class, Taste and Inequalities in the Creative Industries that paints a condemning picture of the British art world, where

in The ABC of the projectariat
Representations of Marseille
Joseph McGonagle

Italian and the ethnic heritage of the characters is almost never mentioned. The only exception is when the teenager Momo raps about his pride in being Comorian in front of Abder. Instead – and in keeping with Guédiguian’s previous films – all the characters are connoted as Marseillais. Nevertheless, whereas previously Guédiguian’s almost exclusive focus on working-class experience in Marseille and L’Estaque insisted on the solidarity of social class, here it is breaking down: sympathy for the striking dock workers seems non-existent, with the newly redundant Paul

in Representing ethnicity in contemporary French visual culture
Kathryn Milligan

developed his interest in observing the everyday and in the narrative opportunities of portraying this in paint. His working method was further informed by using photography in combination with more traditional preparatory drawings and oil sketches. Furthermore, Osborne’s letter to his father reveals something of his detachment from his subject matter, a tendency to highlight differences of social class and outlook, and a reticence to be drawn on his political views. Osborne and Dublin’s ‘town sparrows’ A photograph of the artist, likely taken in the mid-late 1880s, shows

in Painting Dublin, 1886–1949
Simon Grennan

Duval's drawings were made to provoke laughter, by articulating and rearticulating social stereotypes and contradictions. Duval achieved this in her choice of topics and, more unusually, in her ideas about her own position as a humorous visual journalist: her visible lack of training, stage career, gender and social class, relative to the experiences of readers. This chapter examines this articulation, considering late nineteenth-century gender and class relationships between humour, displays of technical skill and concepts of vulgar behaviour

in Marie Duval
Roger Sabin

has since disappeared from the English language, at least in its original meaning. 14 It translates roughly as ‘flirting’, but could be a synonym for an infatuation, as in ‘s/he's a mash’, or ‘s/he is mashable’. It also seems to have been used more vaguely, in the sense of dressing up to go out, specifically with the intention of attracting a romantic partner. The context for mashing involved the strict rules of Victorian courtship, whereby men were expected to treat women of every social class according to a code of

in Marie Duval
May 1968 in the mainstream French press
Antigoni Memou

representations of the large demonstrations of May 1968 since these photographs reduce the diversity of the movement to a homogenous crowd, at the cost of losing the specificity of the participants. Such a perspective fails to encounter the street as the meeting space for the demonstrators, the police and the bystanders, a failure heightened by the fact that the May 1968 demonstrations were an unprecedented intermingling of different social classes, genders and age groups. Collectivisation in L’Humanité was associated with either photographs of static workers taken in the

in Photography and social movements
Abstract only
The way forward
Regina Lee Blaszczyk

triumph of East Asia as a manufacturing centre. The mill ventured into heritage-informed design in the 1980s, when middle-class consumers still used clothing as a demarcation of social class, but in more recent years has adapted vintage styling to the higher end of the market, where better-off consumers look for historical anchors to moor them in an uncertain global world. The mill’s recent successes with heritage branding and co-branding owe much to the West’s growing nostalgia for the motifs of its own past, which is a response to globalisation, albeit a relatively

in Fashionability