Ekphrasis, readers, ‘iconotexts’

12 On gazers’ encounters with visual art: ekphrasis, readers, ‘iconotexts’1 Claus Clüver Some twenty years ago, responding to the recent books on ekphrasis by Murray Krieger and James Heffernan, I presented a long conference paper entitled ‘Ekphrasis Reconsidered: On Verbal Representations of Non-Verbal Texts’ in which I proposed a rather radical revision of the concept of ‘ekphrasis’ underlying those earlier studies.2 Although reducing a concept to a single phrase without further commentary and explanation is always likely to lead to misunderstandings, it is

in Ekphrastic encounters
Abstract only

nations throughout much of the Cold War period – the body found itself in the crosshairs of state surveillance.2 In utilising the body as artistic material, body art, action art, and performance from the region illuminate the manner in which the body is always already located within a system – be it political, artistic or otherwise. The distinct nature of these different systems is brought into sharp focus when juxtaposing examples not only from East and West, but also from across Eastern 2 Sanja Iveković TROKUT (TRIANGLE) 1979 Performance / photographs Time: 18 min

in Performance art in Eastern Europe since 1960

2 The artist as cultural and political activist Introduction Art historian Terry Smith has argued that ‘contemporary art is  – perhaps for the first time in history  – truly an art of the world’.1 Rather than being defined by national or local concerns, his thesis suggests, contemporary art is informed by and responsive to the global context. But, he continues, for artists working in postcolonial nations, as for some artists working within globally dominant nations, the drive is to produce ‘a content-driven art, aware of the influence of ideologies, and

in Art and human rights

, and particularly in the Western institutions: the museums of art, ethnography and history. Since the 1970s, the meta-discursive activities commonly described as institutional critique have established a strong tradition of detailed analysis of networks of power and systems of representation. The practice of interventions by artists has arisen from this tradition. Institutional critique often uses museological practices themselves to question the ways in which history has been rewritten through the politics of collection and display;1 and it has proved to be capable

in Migration into art
Open Access (free)

10 Finding Scottish art MURDO MACDONALD Nationality and art The relationship between nationality and art, or something like it, has been central to the history of art – scholarly or popular – whether in the minimal form of this national school or that national school, or in a more focused way as in ‘the Italian Renaissance’ or ‘French Impressionism’. The art in question is seen as directly related to a national or quasinational set of circumstances, and indeed the art is seen as having some significant link to the nationality of those who carried it out. A

in Across the margins
Cultural politics and art films in post-war Britain

From its foundation in 1945, the Arts Council of Great Britain (Arts Council hereafter) endorsed cinema as a serious artistic medium, directly supporting and sponsoring art films for almost fifty years. In doing so, even on a much smaller scale by comparison to its support for the traditional fine arts of painting and sculpture, the Arts Council nurtured experiments in film form and shaped the careers of many independent film-makers in a manner that helped to develop a specialised strand of British art cinema from the 1960s onwards

in British art cinema
The public and private dimensions of local civic art

9 The rise and fall of the municipal art gallery movement? The public and private dimensions of local civic art By the First World War, most Lancashire towns had established some form of art gallery, supported in part by the local municipal exchequer. Art galleries were no longer limited to the large industrial centres; smaller towns had embraced the movement, often with great enthusiasm. Exploring this development is complex as the local art gallery movement was driven by a variety of visions, narratives and objectives. While many earlier municipal galleries

in High culture and tall chimneys
Open Access (free)

4 Andrew Bowie What comes after art? Kafka’s last completed story has become something of an allegory of contemporary theoretical approaches in the humanities. In ‘Josefine, the singer, or the mouse people’, the narrator, a mouse, ponders the phenomenon of Josefine, a mouse who sings. The problem with Josefine is that she actually seems to make the same kind of noise as all the other mice, but she makes a performance of it, claiming that what she does is very special. She is able, moreover, to make a career out of being a ‘singer’, despite the doubts voiced by

in The new aestheticism
Queering the queer Gothic in Will Self ’s Dorian

entrepreneur but he is not an updated version of Wilde’s dangerous, corrupted hedonist. The novel’s reconstruction of Wilde’s narrative through Wotton indicates an engagement with postmodern ideas, which are also represented in the novel through numerous references to contemporary art. The novel focuses also on the dead and the dying, and reworks the problem of meaning and absence that characterise a

in Queering the Gothic
Performance and puppet theatre in Angela Carter’s Japan

204 The arts of Angela Carter Performance and puppet theatre in Angela Carter’s Japan 10 The ‘art of faking’: performance and puppet theatre in Angela Carter’s Japan Helen Snaith O n 26 March 1969 Angela Carter received the news that she had been awarded the five hundred pound Somerset Maugham Travel Award for her novel, Several Perceptions, published in the previous year. Carter used the money to travel to America with her thenhusband, Paul Carter, before embarking upon her sojourn to Japan alone. Reflecting on Carter’s time abroad Sarah Gamble remarks

in The arts of Angela Carter