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context. The winners of liquid modernity’s ‘moral Darwinism’, as Pierre Bourdieu called them, must combine their knowledge of high mathematics with a love of bungee jumping.2 In contrast, the losers are the ones who fall off the tightrope on which they were uncertainly walking, only to find out that the traditional safety nets of family, society and state were removed during a downsizing exercise. Bauman noted that liquid modernity dissolved those ‘bonds which interlock individual choices in collective projects and actions’, be they trade unions or family life.3

in Almost nothing
J.W.M. Hichberger

vast scale on which military movements are now conducted, and the altered conditions of strategy and tactics, have driven painters to take refuge in the minor incidents of warfare, and to abandon all attempt at scenic completeness of display. They portray with fidelity and skill the soldiers’ daily life and occupation, and still render with vigour and

in Images of the army

, indigenous people or religious believers, just to name but the most important, challenged decisions taken by global meetings such as those of the G7, G8, World Bank and the World Economic Forum. Sternfeld documented the protests in Genoa and produced a body of work which focused on the resistance to the limits of globalisation, as manifested on the streets of Genoa in 2001. This chapter examines Sternfeld’s photobook, highlighting the interrelationship between the visual and the textual in the book. It studies Sternfeld’s strategy in relation to contemporary photographic

in Photography and social movements

with religious buildings, religion (especially Christianity, which dominated the Western world and was transplanted throughout empires by missionaries) is a recurring theme, inextricable from concepts of nation and empire.5 Stained glass as an ideological medium Stained glass can be considered an ideal medium for visualising complex national, international, and imperial identities. After all, its physical structure and composition, consisting of individual pieces of glass held together in a lead matrix, holds many parts in one whole. But the whole also has a

in Windows for the world

thus to inquire into the consequences of an artwork in other spheres of life: how has it contributed to or influenced any level of societal transformation? Impact could equally relate to those who are involved in the creative process, thus implying that the very act of participating in a theatrical production, regardless of the outcome, might serve an educational or other purpose. The idea of impact is largely, but not necessarily always, positively connoted. This distinguishes it from related concepts such as efficacy, which is regarded as a socially productive

in The gestures of participatory art

photographs, texts. 213.38 x 487.68 cm. © Pat Ward Williams. Photograph courtesy of the artist. confronts the passer-by with life-size images of black men, frontally posed and directly facing the street. Although nothing about the group suggests any particular threat, Williams is evidently setting the stage for a play on common white fears of black male youth and on the connotations of graffiti itself: often perceived as a gesture of disrespect for property and order, it suggests the presence of, and potential encounter with, anarchic and violent youth. Williams thus

in Migration into art

Ontario-based institutions as representative of a universal Anglophone Canadian experience.11 Because of this, contemporary viewers may find it hard to see past the scumble of northern European whiteness and territorial claiming that underlies the paintings’ role as a universal symbol of Spirit. White settlers’ identification with a deeply felt primordial Nature in their new land was influenced by eighteenth-century Romantic celebrations of ‘élan vital’ (or life force), unconscious and natural rhythms powerful enough to overcome Enlightenment rationality.12 In the North

in Engendering an avant-garde
Abstract only

Introduction The mode of being of the new intellectual can no longer consist in eloquence, which is an exterior and momentary mover of feelings and passions, but in active participation in practical life, as constructor, organizer, ‘permanent persuader’ and not just a simple orator. (Gramsci, 1996, p. 10) The paradox of participation What does it mean to participate in art beyond the pre-determined roles and options allocated to us? This is the question that the following study grapples with. The issue is at once current and a matter of long-standing debate

in The gestures of participatory art
Abstract only

the two countries. In America, despite some opposition from education and religious groups as well as some progressive politicians, radio rapidly became commercialised, with programmes paid for and indeed run by advertising agencies and sponsors (Smulyan 1994 ). Although the National Broadcasting Company (NBC) and the Columbia Broadcasting System (CBS) were established as country-wide networks in the

in Laughing matters
Abstract only
Representing people of Algerian heritage

-ending deferral of meaning that Mary’s hybridity as a religious and cultural icon posits. Suddenly at once both Muslim and Christian, holy and profane, two cultures and traditions are fused in the same space but coexist in 9 ­ 2 Representing ethnicity tension with their differences unresolved. The work’s inherent playfulness, coupled with the hybridity it champions, ensures that its meaning cannot be definitively fixed. Such a state of flux is further suggested by the self-portraits’ setting. The haik Sedira wears may be Algerian custom, but the blanket whiteness that

in Representing ethnicity in contemporary French visual culture