Search results

You are looking at 81 - 90 of 147 items for :

  • professional identity x
  • Art, Architecture and Visual Culture x
Clear All
Abstract only

of expression bound up with the dynamism of modern urban life. Modern art and culture, [Marinetti] understood, could hope to preserve itself as a tradition or professional practice independent of the world of newspapers, films, cameras, telephones, railroads, and machine technologies more generally, but would have to take full advantage of what modern, industrial, technological, and commercial institutions and practices had created – and would continue to create at an ever-increasing speed. Art would have to abandon its pretension to be ‘Art with a capital A

in Back to the Futurists

Karl Marx and one of Vladimir Lenin. The viewer can make out the frame of a third, but the portrait recedes outwards to the left and is cut off by the picture frame. The longer line of ideological succession generally stretches from Marx to Engels, from Lenin to Stalin and then to Mao. But during the Rectification Movement, which is the event shown here, Mao needed to carve out an identity for the Chinese communist ideology, distinct from the Soviet, just as he was consolidating his hold on the party through a series of political purges. The occasion lasted from 1942

in Art, Global Maoism and the Chinese Cultural Revolution
Abstract only
The Tudorbethan semi and the detritus of Empire

depression and the fear of war are the chief promoters of the Tudoresque.7 Bertram’s thesis has much going for it. In the interwar years, the Tudor and Elizabethan periods were consistently represented as the crucial moments in the formation of British national identity. The British, or perhaps more accurately the English, have had a long-standing love affair with the Tudor period. From the eighteenth century, this was manifested across a range of visual and material culture – including architecture, furniture, ceramics, textiles, stained glass, advertisements, paintings

in Ideal homes, 1918–39
Abstract only

view his contributions as visual experiments that embraced technologies of illusionism from oil painting, proscenium theatre and printmaking that were in conversation with technologies of light and vision within imperial networks. Rather than a biographical interest in Ravi Varma, this study employs his figure as a leitmotif that connects visual practices across India (given his professional engagements across the country) and contextualises his work with that of his contemporaries in Bombay and Calcutta who professed a similar admiration for academic painting. While

in Empires of light

recognised author; quite the contrary, there is no reference to professional photographers or any selection of representative photographs. What seems to be the unifying characteristic of the collection is a deliberate effort to create an alternative representation from the one offered by the official media and the apparatus of the state. An alternative archival strategy is therefore based on an anti-hierarchical mode: the photographs are not attributed to the photographers whether they are recognised photojournalists or anonymous amateurs. As a result, various different

in Photography and social movements
From Hans Haacke’s Systems Theory to Andrea Fraser’s feminist economies

’s proposition brought a feminist perspective to institutional critique to show how politics appear in and through the human body. In her synthesis of an identity-based/feminist entry point to the work of institutional critique, Fraser offered a perspective on the making of a political stage and its subjects. Her work mapped how gender, the (working) human body, or the artwork appear, exist, or mediate transactions, and how value takes form in the process. Haacke’s timeline of Les Poseuses changing hands ended with the work’s purchase by one of the first art investment funds

in The synthetic proposition
The spectacle of boxing and the geometry of tennis

invasion of American boxers, suddenly making the “noble art” more popular than it had ever been in France’.11 Fighters in Europe began to be accorded the sort of celebrity that they enjoyed in America. Even so, The Soil’s profile of the English émigré boxer Ted ‘Kid’ Lewis opened with his observation that: ‘There is a difference between boxers here and in England; in England a boxer is looked upon as a professional, but there is greater respect shown them here. They make an idol of a boxer overnight in this country.’12 Perhaps with such strong identifications between

in Sport and modernism in the visual arts in Europe, c. 1909–39

characters explicitly suggest that the crew might be there for an exposé of the emergency room. The female director and cameraman repeat the usual proclamations of Reality-TV filmmakers – that they are committed professionals, who would just like to give the doctors an opportunity to share their stories or give their point of view – but they also emphasise that they will do the story anyway. The crew are ready to jump on the

in Faking it
Representations of Marseille

habitually make reference to the capital: underscoring Paris’s importance within France more generally but also emphasising that Marseille’s identity and status often function in opposition to those of Paris. Indeed, in contrast to cooler northern climes, the city and surrounding region have often been constructed as a Latin hotbed with Marseille seen as meeting point between southern French, Spanish and Italian people: epitomised in Jean Renoir’s Toni (1935) and more recently in Robert Guédiguian’s Rouge midi (1985) and Stéphane Giusti’s Bella ciao (2001). Following the

in Representing ethnicity in contemporary French visual culture

ethnicity’ (1991b: 21-2). Whether one’s ethnicity is determined by ‘consent or descent’ (1991b: 19), by internal or external factors, chosen or allocated, it is a complex factor in identity. The negotiations involved in reacting to comedy, in deciding what works or doesn’t work, is funny or unfunny, inclusive or exclusive, acceptable or unacceptable, or some combination of the foregoing, make it a

in Laughing matters