Search results

You are looking at 11 - 14 of 14 items for :

  • religious congregation x
  • Art, Architecture and Visual Culture x
Clear All
Abstract only
Listening to installation and performance
Ming-Yuen S. Ma

passageway to a space for congregation … sound can radically change our perception of spaces and situations without any destructive renovation or alteration of visual queue.’ 79 However, the relationship between sound and existing architecture can also be antagonistic and disruptive, such as in the case of an artist-respondent’s work utilizing infra bass sounds: ‘The invasive, physically animating nature of infra bass, and I mean mostly as continuous sine waves, rather than as beats, turns air into an enveloping agitated substance, something in between a cushion and a full

in There is no soundtrack
Jonathon Shears

open letter to a number of religious organizations urging them to bar from their pulpits and from fellowship with their churches any visiting Americans who supported slavery’ (2011: p. 177). For Auerbach, many of the objects on display ‘created and diffused’ (1999: p. 113) a national image. At the approach was a huge equestrian statue of Richard Coeur de Lion by Baron Marochetti. Once inside, spectators could marvel at the gold enamelled and jewelled vase by Watherston & Brogden of Covent Garden which depicted Britannia as part of a group emblematical of Great

in The Great Exhibition, 1851
Jasmine Allen

nineteenth-​century stained glass. The popularity of pictorial glass at the Great Exhibition of 1851 caused The Ecclesiologist to comment, ‘[w]‌e should think the novelty of this process would never wear of’.19 Around 10–​15 per cent of the windows exhibited in the Crystal Palace were enamel-​painted copies of well-​ known oil paintings of religious subjects, often derived from engravings, prints and, from the mid-​ nineteenth century onwards, photographs.20 John Toms (1812–​67) of Wellington, Somerset, exhibited an image of Mary Magdalene on glass, after a painting by

in Windows for the world
Abstract only
Jonathon Shears

be underplayed. It was undoubtedly at the forefront of new questions raised about British national identity, imperialism and the future of the colonies, and it still resonates today in debates about patriotism. It has also, rightly or wrongly, come to represent an age of faith: faith in a religious sense, but one coupled to, rather than opposed by, material, technological and scientific progress which modernism was to later question and unpick. For many, it symbolises British self-assurance – perhaps drawn from the fact that ‘London was at the centre of an

in The Great Exhibition, 1851