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Maria Cioată

This article presents a forgotten manuscript of a personal account of one of the first Jewish settlers who departed from Romania to Palestine in 1882 and helped found the colony of Samarin, which was later taken over by Baron de Rothschild and renamed Zichron Yaakov. Friedrich Horn, a schoolmaster with Austrian nationality who had settled in Romania fifteen years before his departure to Palestine, gave the manuscript of his unfinished work Nationaltraum der Juden to Moses Gaster. Gaster kept it among his collection of manuscripts. He considered it a diary rather than as Horn obviously had in mind, a contribution to historiography intended to be published. The text provides significant evidence concerning the underappreciated role of Jews from Romania in the historiography of Zionism.

Bulletin of the John Rylands Library
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Queer zen
Alpesh Kantilal Patel

as invoke a body that is not culturally marked. Abstraction, as Getsy writes, can ‘resist bodies’ readability and the assumptions made about gender from visual clues’.18 I would expand the latter to refer to other kinds of clues, or identifications, such as race, ethnicity and nationality. In addition to queer form, Asian American studies and literature scholar Kandice Chuh’s suggestion that we approach ‘Asian American’ in Asian American studies as a category of discursive knowledge that may or may not necessarily involve artists of Asian descent is particularly

in Productive failure
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.

Open Access (free)
Design and material culture in Soviet Russia, 1960s–80s
Author: Yulia Karpova

The major part of this book project was funded by the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No. 700913.

This book is about two distinct but related professional cultures in late Soviet Russia that were concerned with material objects: industrial design and decorative art. The Russian avant-garde of the 1920s is broadly recognised to have been Russia’s first truly original contribution to world culture. In contrast, Soviet design of the post-war period is often dismissed as hackwork and plagiarism that resulted in a shabby world of commodities. This book identifies the second historical attempt at creating a powerful alternative to capitalist commodities in the Cold War era. It offers a new perspective on the history of Soviet material culture by focusing on the notion of the ‘comradely object’ as an agent of progressive social relations that state-sponsored Soviet design inherited from the avant-garde. It introduces a shared history of domestic objects, handmade as well as machine-made, mass-produced as well as unique, utilitarian as well as challenging the conventional notion of utility. Situated at the intersection of intellectual history, social history and material culture studies, this book elucidates the complexities and contradictions of Soviet design that echoed international tendencies of the late twentieth century. The book is addressed to design historians, art historians, scholars of material culture, historians of Russia and the USSR, as well as museum and gallery curators, artists and designers, and the broader public interested in modern aesthetics, art and design, and/or the legacy of socialist regimes.

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.

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The material and visual culture of the Stuart Courts, 1589–1619
Author: Jemma Field

This book analyses Anna of Denmark’s material and visual patronage at the Stuart courts, examining her engagement with a wide array of expressive media including architecture, garden design, painting, music, dress, and jewellery. Encompassing Anna’s time in Denmark, England, and Scotland, it establishes patterns of interest and influence in her agency, while furthering our knowledge of Baltic-British transfer in the early modern period. Substantial archival work has facilitated a formative re-conceptualisation of James and Anna’s relationship, extended our knowledge of the constituents of consortship in the period, and has uncovered evidence to challenge the view that Anna followed the cultural accomplishments of her son, Prince Henry. This book reclaims Anna of Denmark as the influential and culturally active royal woman that her contemporaries knew. Combining politics, culture, and religion across the courts of Denmark, Scotland, and England, it enriches our understanding of royal women’s roles in early modern patriarchal societies and their impact on the development of cultural modes and fashions. This book will be of interest to upper level undergraduate and postgraduate students taking courses on early modern Europe in the disciplines of Art and Architectural History, English Literature, Theatre Studies, History, and Gender Studies. It will also attract a wide range of academics working on early modern material and visual culture, and female patronage, while members of the public who enjoy the history of courts and the British royals will also find it distinctively appealing.

An interview with Leslie Ureña
Bénédicte Miyamoto and Marie Ruiz

-Manuel Miranda in the guise of Alexander Hamilton. Editors: What is the place given to foreign artists, settled artists, and migrant artists in the Smithsonian’s National Portrait Gallery? How does the National Portrait Gallery mark borders and nationalities on its museum labels? Are there any markers of migration? Leslie Ureña: We include the birthplace of the sitter. Robert Capa, born Budapest, Hungary, for example. We do not specify nationality, however. Some artists do not want to be categorised, or have changed nationalities mid-career, or use one nationality in one

in Art and migration
Jane Chin Davidson

for her project, however, was the staging of a marriage with her artistic partner David Kelley. The conceptualization of getting married in Shangri-La raises several issues in regard to ‘marrying into’ nationality in the norm of obtaining citizenship based on the territorial borders of a nation. The ability to change citizenship by getting married in another country, as Gayatri Chakravorty Spivak explains, is to ‘naturalize’ and to adopt a nation as a symbol of the ‘private conviction of special birth.’5 The norm of citizenship is based on being born in one

in Staging art and Chineseness
Open Access (free)
Janet Wolff

– planning to retain my own EU membership by becoming German as well as British. Within a week, I saw in the press that there was already a notable trend of people cashing in on their eligibility for Irish, Italian, German and other nationalities. As I write, only a month after the referendum, things are far from clear, and I suppose I won’t do anything apart from assemble my documents at least until Article 50 is triggered, beginning the formal process of separation. In the meantime, having completed this extended meditation on my family’s history, including the traumas

in Austerity baby
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Anish Kapoor as British/Asian/artist
Alpesh Kantilal Patel

Authorship: Anish Kapoor as British/Asian/artist I’m Indian. My sensibility is Indian. And I welcome that, rejoice in that, but the great battle nowadays is to occupy an aesthetic territory that isn’t linked to nationality. (Anish Kapoor)1 Being an artist is more than being an Indian artist. I feel supportive to that kind of endeavour … it needs to happen once; I hope it is never necessary again. (Anish Kapoor)2 Both the statements above are by India-born, England-based artist Anish Kapoor. The first was made during the opening ceremony of his first solo

in Productive failure