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Janet Wolff

bounteous with promises for the future. Rosing made an address to the school of music at large in Kilbourn Hall, describing the aims of the Austerity baby Catalogue for McEnery Exhibition, Rochester, NY 2003 Kathleen McEnery, Eugene Goossens, c. 1927 Cunningham residence, 10 S. Goodman Street, Rochester, early twentieth century Rochester Museum and Science Center, 2001 [ 21 ] Provincial matters [ 22 ] company and its policies. As a newly enrolled music student, I was in that audience, listening with the same excitement as the members of the company. In all his

in Austerity baby
Open Access (free)
Janet Wolff

reported that Rose Hill, which had been a nursing home for two decades after Olive Shapley sold it in 1981, had become the first Didsbury property offered for sale for one million pounds. Austerity baby Lawnhurst, Didsbury, Manchester Henry Simon and family outside Lawnhurst, 1898 hH Lawnhurst is one of several mansions in Didsbury, built as family homes by wealthy industrialists and businessmen in the second half of the nineteenth century. Ernest Simon, later Lord Simon of Wythenshawe, was thirteen years old in 1892 when he moved with his parents and seven siblings

in Austerity baby
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.

Lez Cooke

Wave of Northern drama had entered the mainstream of British culture. From the mid-1950s to the mid-1960s provincial, working-class drama was current and contemporary, a sign that the landscape of British culture was changing as a new generation sought to shake off the middle-class cultural conservatism of the 1940s–50s COOKE PRINT.indd 14 05/07/2012 13:36 Regionalism 15 as Britain emerged from the torpor of postwar austerity. The New Wave, however, was short-lived, and the election of a new Labour government in 1964, after thirteen years of Conservatism

in A sense of place
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Ideal homes and domestic design
Deborah Sugg Ryan

original purpose. For many like the Colletts at 17 Rosamund Road, the home they made in the interwar years stayed very much the same for subsequent years 11 1.2  12 Ideal homes, 1918–39 1.3  Mother and daughter in armchair, 1922 once it was ‘done’. The modernity – or otherwise – of the interwar years stalled because of the Second World War. Years of rationing and austerity compelled people simply to ‘make do and mend’, as a government campaign advised. After the war, exhibitions such as ‘Britain Can Make It’ (1946) and the Festival of Britain (1951) promised the

in Ideal homes, 1918–39
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Jared Pappas-Kelley

, austerity, and extracting finances from individuals where none exists for the sake of imposing a formal idea of solvency as an image of solvent State. Perhaps this is the legacy of treating people like an image. However, art and the image also house this tension which, while giving form, likewise undoes through its ability to draw out, focus, and collapse. This solvency in the form exerts as a force, which Nancy sees as other to form: “It is what does not show itself but rather gathers itself into itself, the taut force on this side of forms or beyond them, but not as

in Solvent form
Jane Chin Davidson

the 1895 Venice Biennale, and they had contributed to the establishment of this art historical norm, one that apparently took over a hundred years to change. In 2017, the pure realism of Athens as the center of the refugee crisis and economic austerity came into conflict with the mythological Greek legacy, and by siting the artfair in the midst of the city’s problems, Szymczyk appears to have followed the political example that Enwezor had instantiated with Documenta 11. The use of Documenta 14 as a proscenium stage for the world to see the crisis in Athens extended

in Staging art and Chineseness
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Writing queer feminist transnational South Asian art histories
Alpesh Kantilal Patel

: Performing (Im)possible Lesbian Subjects’ (PhD dissertation, Lancaster University, 2010), See chapter 5. She does a wonderful analysis of the recorded poetry being piped up through the various beds. 6 This is before ‘austerity measures’ took hold in England in 2010. For discussion of them in 2015 see Amelia Gentleman, ‘Austerity Cuts Will Bite Even Harder in 2015 – Another £12bn Will Go’, Guardian, 1 January 2015, sec. Society,– 12-billion

in Productive failure
Walker Evans’s polaroids
Caroline Blinder

Romantic impetus at play in the polaroids is nonetheless different from the earlier material. Rather than elevate the fragmented objects to something nearly sacrosanct in the polaroids, a charge that one might have levied at the sharecropper interiors with their forlorn broken ornaments and torn calendars as indicators of the quiet austerity of their surroundings, the objects in the polaroids – flattened coke cans and discarded pieces of furniture, for example – are more reminiscent of abstract art and graffiti and thus appear more conceptual in their overall focus

in Mixed messages
Abstract only
Richard Kilborn

remit of the World in Action series, the programme was to be broadly sociological in its aim. The early 1960s were a time when Britain was emerging from a period of post-war austerity and where change was in the air. This particular World in Action programme, with its rather quirky Seven Up title, was designed to test the validity of the claim that Britain was in the grip of a social revolution by considering the prospects of a group of seven-year-olds all drawn from different social backgrounds. As Apted himself remembers: It occurred to Tim Hewat, [the] Australian

in Taking the long view