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Charles Gaines by way of conclusion
Nizan Shaked

A state of passionate detachment: Charles Gaines by way of conclusion I use color not as an affective gesture but as a code to establish difference. But the color (dealing with sense) is emotive in relation to the object (that is, it contributes poetically to the meaning of the object). I believe this poetic meaning is as much a function of the system as it is the object, thus, what is being represented, an object?/system? Both separately? I believe one cannot be separated from the other, certainly it is not a representation of both separately, but both as a uni

in The synthetic proposition
Marc James Léger

, or whether this now fetishised nomadic labour of directly participatory energies functions as the very engine of economic transformation. Does the eclipse of the welfare state and the commodification of social relations not then come to operate as the biocapitalist basis of political activism? Some have argued that the theories of post-Fordist or ‘immaterial’ cultural production that are associated with the work of Paolo Virno, Maurizio Lazzarato and others, effectuate a certain depoliticisation, in particular, as communicative semio-capitalism is taken to be

in Vanguardia
Bulletin of the John Rylands Library
Bulletin of the John Rylands Library
Bulletin of the John Rylands Library
a New Proof State of the Battle of the Romans and the Sabines
Lisa Pon

The John Rylands Library’s recently rediscovered Spencer Album 8050 contains a proof state of the Battle of the Romans and the Sabines, an engraving pivotal in the short-lived but ambitious collaboration between Jacopo Caraglio (1500–65) and Rosso Fiorentino (1495–1540) in Rome. This proof impression was first printed in black ink, and then densely covered with hand-drawn ink. A comparison between the new proof state and previously identified states of the engraving using a novel technical approach involving long-wave infrared light to isolate the printed lines optically indicates that the Spencer proof state precedes any other known state of the engraving. The use of penwork and printing on this early proof and subsequent proof states demonstrates how Caraglio and Rosso saw drawing and printing as intimately connected, iterative steps in the print’s production.

Bulletin of the John Rylands Library
Stewart J. Brown

In 1869, Parliament disestablished the Church of Ireland, dissolving what Benjamin Disraeli called the ‘sacred union’ of church and state in Ireland. Disestablishment involved fundamental issues – the identity and purpose of the established church, the religious nature of the state, the morality of state appropriation of church property for secular uses, and the union of Ireland and Britain – and debate was carried on at a high intellectual level. With disestablishment, the Church of Ireland lost much of its property, but it recovered, now as an independent Episcopal church with a renewed mission. The idea of the United Kingdom as a semi-confessional Protestant state, however, was dealt a serious blow.

Bulletin of the John Rylands Library
Colin Trodd

State for Foreign Affairs from 1866 to 1868 and Foreign Minister from 1874 to 1878. 76 J. Bright, Speeches on Parliamentary Reform (Manchester: John Heywood, 1866) , pp. 7–15. 77 J. E. T. Rogers, Public Addresses of John Bright (London: Macmillan and Co. 1879) , pp. 401–2. 78 It is important to note that the main office of the National Federation of Associated Employers of Labour was established in Manchester in

in Ford Madox Brown
Edward H. Wouk

The Morbetto, or Plague in Crete, designed by Raphael and engraved by Marcantonio Raimondi, juxtaposes the pestilence described in Virgils Aeneid with the ruinous state of Romes ancient remains in the Renaissance. This article examines this exceptional collaboration between the artist and engraver in light of early modern medical knowledge of contagion and an emerging discourse on the preservation of Roman ruins. It argues that the tonal properties of engraving and reproducible nature of print are integral to the meaning of the Morbetto, an image in which new artistic creation arises from a cultural landscape dominated by the fragmentary heritage of the past.

Bulletin of the John Rylands Library
Iwona Kozieradzka-Ogunmakin

A skeletal collection from 105 burials excavated at the Old Kingdom and Ptolemaic Period cemetery in Saqqara, Egypt, was investigated for evidence of ante-mortem fractures of long bones. The collection comprised 57 males, 30 females, 14 unsexed sub-adults, and 4 unsexed mature individuals. The majority of the skeletons were complete or almost complete, despite the disturbance caused by tomb looters in antiquity. Fractures were recorded by bone, side, location, type and state of healing. The prevalence of fractures was calculated in male and female populations, as well as in individual age groups. The state of healing of the fractures was examined in order to investigate the possibility of medical treatment provided. No evidence of fractures was recorded in subadults. Evidence of single fractures were found in fourteen adults, and a further five individuals sustained two fractures to different bones of the upper limb. The frequency of fractures by bone count was the highest among the Middle and Old Adults. Fractures to the radius (37.5%) and the ulna (33.3%) were the most common, while no fractures were recorded in the tibia. Angulation, rotation and shortening were observed among the healed bones.

Bulletin of the John Rylands Library