Search results

You are looking at 71 - 80 of 185 items for :

  • religious life x
  • Art, Architecture and Visual Culture x
Clear All
National heroines and defenders of liberty

taboos; and she portrays their values and behaviour as fitting, and even inspirational, examples for Victorian social life. Table 2 captures the expansive range of Byronic poetry that inspired Cameron, but broad recognition of these subjects as ‘Byronic’ is wholly absent from the critical literature about the photographer’s work. This absence is consistent with the historical devaluation of her allegorical subjects. Individual ‘exotic’ photographs have stood out for some scholars, like the photographs titled Zoë, Maid of Athens (Cox 392) or The Bride of Abydos, but

in Julia Margaret Cameron’s ‘fancy subjects’
J.W.M. Hichberger

The able-bodied ex-soldier rarely had any trade which would help him find employment in civilian life: If they were fortunate, they were employed by the Government or by hotels and hospitals as caretakers and porters; certain industries, notably the chemical, also employed soldiers because they laid stress on

in Images of the army
Justness and justice at home and abroad

she displayed her work; another is the repetitive quality of this imagery, a fact that often annoyed many of the art critics who covered her exhibitions. Significantly, instead of segregating these works apart from other portraits and fancy subjects in her exhibition, she displayed them all together along with her life-size heads, religious images, and literary subjects, allowing her audience to assign various possible meanings to her photography. In representation, ambivalence maybe apparent when a selection of works is reduced to a stock house of stereotypes

in Julia Margaret Cameron’s ‘fancy subjects’

. Individual stained glass exhibits were arranged in interior galleries and courts like paintings, displayed as freestanding exhibits like sculptures, within decorative interiors, and architecturally, fitted into both internal and external openings within purpose-​built exhibition buildings. The large architectural spaces created by some purpose-​built exhibition buildings invoked the vast spaces of ecclesiastical buildings. In Britain, religious terms such as ‘nave’ and ‘transept’ were frequently applied to exhibition buildings, and ceremonial openings, prayers, organ

in Windows for the world

connections between the individual items on the programme. Whilst conventional theatre is meditative, psychological, concerned with realistic scenes of daily life and bound to cultural traditions, Variety theatre has no ‘traditions, masters, or dogmas’ (Marinetti 2006: 185). Like Futurism, it is indifferent to the ‘immortal masterpieces’ of the past; it destroys ‘the Solemn, the Sacred, the Serious, and the Sublime in Art with a capital A’ (Marinetti 2006: 189) and ridicules the ‘tired old stereotypes – the Beautiful, the Great, the Solemn, the Religious’ (Marinetti 2006

in Back to the Futurists
The altered books of Brian Dettmer and Doug Beube

authority and the necessity of verification. It is about the loss of information as we now store our personal and cultural records in ones and zeros, formats that suffer from entropy as new updates render them obsolete. Our ideas are now on life support, requiring a constant stream of electricity and upgrades.27 Similarly, Beube juxtaposes the codex that is the core of his work – the book, nearly literally a block of wood, as the term denotes – with computers, suggesting that both ‘store, perpetuate, generate and recreate information’,28 but the former does so in an

in Mixed messages
ACT’s procedures of ‘pure creation’, 1993–96

strategies attempts to situate them within those structural changes that took place in the aftermath of independence following the collapse of the USSR in 1991 and defined the trajectory for this decade. I investigate, describe and critically revisit those spaces and possibilities that emerge in the gaps between ‘pure creation’, a key concept developed by artist David Kareyan and made operational throughout the group’s existence, and the intensity of everyday life in Armenia in the mid-1990s. I argue that the concept of ‘pure creation’ emerges in the clash between

in The political aesthetics of the Armenian avant-garde

-European replication and the establishment of a “civilized” pattern of life.’1 Settler groups are insecure in their settlement because they are continually faced with non-settlers’ refusal or inability to join the settler collective; the latter’s very existence is a reminder of the settlers’ dubious claim(s) over territorial ownership, and a setback in the path towards settler indigenization. Using such theory as a guide we can understand how in the cultural realm the establishment of an avant-garde in Vancouver was dependent on controlling new discursive territory in that city

in Engendering an avant-garde

of skin and its contribution to the shaping of the human form. As much as the emerging life sciences of the time, the discipline is obsessed with the body as living entity. And in continuation of a process which started in eighteenth-century medicine, and vitalist medicine in particular (as discussed in chapters 3 and 4), skin is increasingly perceived as an active organ. This acknowledgement further challenges the desire to gain access to the body’s inner secrets, and I will raise the question how this obstacle is dealt with in the discourses of artistic anatomy

in Fleshing out surfaces
The power of the garden image

paintings and photographs of Charles Sheeler and Margaret Bourke-White and the murals of Diego Rivera. Sheeler’s paintings of factory buildings are monumental paeans to modernity; as Lindy Biggs has suggested, ‘he captured the growing belief in industry as the messiah for modern society and in the factory as its earthly representation’.1 Promotional images produced for advertising and for employee magazines constructed similar myths about factories and factory life. Lewis Hine’s photographs of factory workers commissioned by Western Electric in the 1920s for their company

in The factory in a garden