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Lepage in his own line of vision
Karen Fricker

’ materials like earth and fire, while Vinci was ‘technological; we worked with computers almost constantly’ (qtd in Chamberland 63).i While the Trilogy is better known and was revived in 2003, it is my contention that Vinci deserves an equally central place in considerations of Lepage’s creative project. It comes across as something of a mission statement, announcing his engagement in interrelated areas of inquiry that extend across his career: autobiography, visuality, and representation. Vinci is about Lepage himself, about his personal and artistic concerns; it served

in Robert Lepage’s original stage productions
Stephen Orgel

Memory has been recognized since ancient times as a basic element of artistic creativity, but I propose here a counter-argument: that forgetting, or the suppression or subversion of memory, is an equally essential creative principle – we memorize in order to forget. My primary example is Shakespeare, but Shakespeare in this can hardly be unique. I have in

in Spectacular Performances
Kate McLuskie and Kate Rumbold

persist in the contemporary discourse of institutional work. The abstract to John Holden’s Democratic Culture declares that ‘Culture should be something that we all own and make, not something given, offered or delivered by one section of “us” to another’: an anthropological view of culture, in which institutions promote the shared practices, behaviours and even creative products of their communities

in Cultural value in twenty-first-century England
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Quentin Falk

player, a journeyman at the creative end of British cinema, almost as if helping to craft a few Ealing comedies, perhaps most notably Hue and Cry and The Lavender Hill Mob , on the one hand and, more than thirty years later, keeping an Anglo-American cast on track in A Fish Called Wanda , a sort of Ealing-style reboot, on the other, somehow comprised the sum total of his cinematic contribution. So perhaps the problem, as some might still see it, is that Crichton was less an artist, rather more just an effective, collaborative, craftsman without a describable style

in Charles Crichton
Boccioni – Delaunay, interpretational error or Bergsonian practice?
Delphine Bière

critics tended to confuse and assimilate the Delaunay’s creative process with that of the Italian Futurists. The point of the dispute was first of all to prove the precedence of the Futurists’ pictorial innovations over Delaunay’s. Secondly, the debates it provoked revealed some interpretational errors in the way some driving principles were received at the time, including Chevreul’s law of simultaneous contrasts and complementary colours, but above all Bergson’s theories about duration and intuition. In the 1910s, the philosopher influenced a whole new generation of

in Back to the Futurists
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Norman Etherington

imperialism to subdue savage peoples and the civilised individual’s need to keep a lid on the savage urges welling up from within. A number of conservative imperialists active in the creative arts exploited that parallel in works whose aesthetic power arises from the contest between the order they upheld in their politics and the countervailing forces of savagery: a contest whose outcome is always in doubt

in Imperium of the soul
Author: Zoë Thomas

Women Art Workers constitutes the first comprehensive history of the network of women who worked at the heart of the English Arts and Crafts movement from the 1870s to the 1930s. Challenging the long-standing assumption that the Arts and Crafts simply revolved around celebrated male designers like William Morris, this book instead offers a new social and cultural account of the movement, which simultaneously reveals the breadth of the imprint of women art workers upon the making of modern society. Thomas provides unprecedented insight into how women – working in fields such as woodwork, textiles, sculpture, painting, and metalwork – navigated new authoritative roles as ‘art workers’ by asserting expertise across a range of interconnected cultures so often considered in isolation: from the artistic to the professional, intellectual, entrepreneurial, and domestic. Through examination of newly discovered institutional archives and private papers, and a wide range of unstudied advertisements, letters, manuals, photographs, and calling cards, Women Art Workers elucidates the critical importance of the spaces around which women conceptualised alternative creative and professional lifestyles: guild halls, exhibitions, homes, studios, workshops, and the cityscape. Shattering the traditional periodisation of the movement as ‘Victorian’, this research reveals that the early twentieth century was a critical juncture at which women art workers became ever more confident in promoting their own vision of the Arts and Crafts. Shaped by their precarious gendered positions, they opened up the movement to a wider range of social backgrounds and interests, and redirected the movement’s radical potential into contemporary women-centred causes.

Creative resistance in Preet Nagar
Churnjeet Mahn, Anne Murphy, Raghavendra Rao KV, Poonam Singh, Ratika Singh, and Samia Singh

) In this chapter we focus on creative approaches to understanding what Partition means today in a part of East Punjab close to the Indo-Pak border. The broader project used creative methods in Amritsar (a city profoundly associated with Sikhism) to question how everything other than contemporary Sikh heritage was sidelined by government heritage bodies, demonstrating a steady disinvestment in the area's rich religious and cultural history that was literally and figuratively being undermined. However, in this chapter we consider a part of the project which turned to

in Creativity and resistance in a hostile world
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Karen Fricker

means of doing things, produce[s] the kind of art works that art world is noted for’ (x). As Kimmel has argued, Becker’s theorisation of the art world ruptures narratives of ‘the artist as genius and the beautiful work as an expression and embodiment of genius’ (733), rather understanding art as the product of networked labour. Through the depictions mentioned above and others, Lepage too has worked to debunk the lone-genius model of artmaking, and in discussions of his methods frames them as collaborative and featuring a distribution of creative responsibility. He

in Robert Lepage’s original stage productions
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Zoë Thomas

and amateurs, public and private, and the fine arts and the crafts. Many questioned whether women should even ‘seek to establish themselves as professionals, or should the trappings of professionalism be rejected in favour of the wholesale recognition as art of whatever women make’.27 Much like their forebears in the Arts and Crafts movement, the artistic women tangled in these diverse creative networks and spaces ever looked to balance their artistic, political, individual, and collaborative needs. Art historian Katy Deepwell has discussed the tensions that arose

in Women art workers and the Arts and Crafts movement