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memo insisted that Brunias’s ‘Americana’ have a ‘very tenuous’ connection to British Studies, the histories of slavery, colonialism, and the construction of race that they illustrate are now considered integral to any study of British identity, and these concerns, far from being ‘unimportant pebbles’, constitute the very bedrock upon which some of the most exciting and rigorous recent scholarship in studies of British and American art and history is founded. My own project joins a distinguished chorus of voices including those of Anna Arabindan-Kesson, Tim Barringer

in Colouring the Caribbean

analytical reports on the struggle. The communiqués had a great impact both in Mexico and internationally and were reproduced endlessly on activists’ websites and blogs across the world. The unknown Marcos, a masked Zapatista with a secret identity, gained prominence within the movement, despite his efforts to remain an unknown member of the struggle. Marcos encouraged secrecy about his identity and his life before moving to Chiapas and repudiated any kind of leadership within the EZLN. He called himself Subcomandante (subcommander) acting upon the orders of the EZLN

in Photography and social movements
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Locating global ­contemporary art in global China

fashioning of global Shanghai intervenes into discourses of global contemporary art and global China by investigating art and design created in Shanghai and in dialogue with the city’s twentieth and twenty-first-century identity as the PRC’s most cosmopolitan metropolis. This book should be read as a counter-touristic guide to one of the world’s fastest developing megacities, one that penetrates the contradictions and buried layers of specific locales and artifacts of visual culture. Informed by years of in-situ fieldwork, including interviews with Shanghaibased artists

in Above sea
Conceptualism as political art

particular interest groups or perspectives. What Ramsden saw negatively as pluralism in art was partly a postmodernist opening out into the vast outlooks and strategies of identity politics. Artists concerned with the politics of race, gender, and sexuality were part of the shift to integrative thinking that also placed the assumptions and criteria of traditional disciplines (painting and sculpture) under scrutiny, using other academic disciplines to shift their critical point of entry. They brought semiotics, linguistics, cinema studies (where concurrently images as signs

in The synthetic proposition

potentially greater appeal to a broad audience of individuals appreciative of Canada’s natural grandeur. For Harris, a Theosophist who was deeply interested in and studious of eastern religions, light was the pre-eminent symbol of spiritual transcendence. The essential and unified Canadian identity once engendered by such early modern images of northern landscapes remains a powerful force well into the twenty-first century, even if it is also now acknowledged as a mythical construction particular to English settler needs in the developing nation state. History painting, the

in Engendering an avant-garde

memes are culturally entrenched, despite the potential or need for change, individuals and groups are often reluctant to give them up, so interwoven are their own identities with those same assemblages. Focusing now on the common resistance to cultural change, the discussion returns to the question of how much control or influence individuals and groups may or may not have over their own development. In the conclusion to Chapter 7, it was suggested that, as both the components and products of human societies, types and taxonomies must be consistent and predictable

in The extended self

. Installing a world city Such cross-cultural conflicts further define Gu Wenda’s professionalization as an artist. He has narrated his own development this way: In the ’80s [in China], it was totally about Western contemporary art and philosophy, so there was the danger of losing your own cultural identity. So I had a slogan in the early ’80s: I want to use Chinese tradition to go against Western contemporary, but use Western contemporary to criticize Chinese tradition … to go both ways, so that I wouldn’t lose my own cultural identity.18 Here, Gu Wenda foregrounds the

in Above sea
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Writing as a racial pharmakon

but all passionate. I speculate that Rinder’s assessment of Dean’s artwork as potentially not art and Baker’s facile criticisms of Pulse as resonant with those of the exhibition “Primitivism” in 20th Century Art reflect a certain anxiety about the artist’s apparent whiteness. That is, Dean’s artistic practice becomes conflated with issues of the perceived identity of the author, while his subject matter – abstracted colour – becomes enmeshed with and overwhelmed by the politics of who should or can appropriate this particular source material – the Holi festival.24

in Productive failure

administration building or social centre professionally landscaped and planted and some provided roof gardens for rest breaks during working hours. The flat roof became one of the signatures of modernist architecture and architects designed roof gardens as part of an aesthetic and functional whole. Some saw roof gardens as vital to high-density urban developments. Frank Lloyd Wright incorporated rooftop conservatories and terraces for employees and guests into the design of his highly influential administration building for the Larkin Company in Buffalo, New York (1904),27 and

in The factory in a garden
Profits or perks?

 evaluating industrial recreation.5 Despite a lack of quantitative evidence, however, Anderson’s book and sources from other professionals with an interest in recreation, provide valuable, if not conclusive, evidence for the benefits to companies and employees of gardens and recreation, from the late nineteenth to the middle of the twentieth centuries. There are relatively few personal accounts of life at the factory in this period and employees’ perspectives of the gardens and recreation grounds at the workplace are elusive. Accounts that do exist, in fact or in fiction, pay more

in The factory in a garden