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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

plan. ­©  ­Devonshire Collection, Chatsworth. Reproduced by permission of Chatsworth Settlement Trustees. Skelton_Paradox.indd 118 17/12/2014 09:39 The disciplinary distraction of motion 119 (Figure 6). Longer vistas were so rare that they were greeted with marked surprise. The early seventeenth-century Sir Henry Slingsby found the vista at Holland House so unexpected that he termed it a ‘conceite’ – a playful device distinct from mundane daily life – and described it in detail as if to remind himself of its appearance. He noted in his diary, ‘from that house

in The paradox of body, building and motion in seventeenth-century England

category of participatory art might be seen to imply that it is a specific kind of art, a genre in its own right. It might suggest that a certain artistic practice is recognizable and classifiable according to whether and how it enables the participation of audiences or the 27 BALA__9781526100771_Print.indd 27 09/05/2018 16:19 the gestures of participatory art public, usually conceived as non-professionals or non-artists. In an extended sense, it could also refer to the degree and nature of participation of the artistic practice itself in public life. If we use

in The gestures of participatory art
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Imagining ways of ‘being together’

’, disrupting the settled, legible reality of everyday life.10 Citing only a few of the actions undertaken by artists at the very beginning of the performance series in Belfast’s St. George’s Market gives a sense of the manifold interruptions in daily routine that were attempted by the participating artists. Mexican Elvira Santamaria, for instance, proceeded through the bustling spaces of this popular, renovated nineteenth century market, while repeatedly blowing up and then aggressively whacking a tied black bin-​liner in order to create a series of small but impactful

in Ghost-haunted land
Engaging with ethnicity

spaces underlines its primacy in enabling visitors to explore the many complexities of this area: complexities that often seemed to escape many French politicians in power throughout this period. This wider era was also characterised by a series of polemics about the relationship between French national identity and ethnic and religious differences in French society more generally, epitomised by the introduction of legislation, which came into force in April 2011, outlawing the covering of the face in public. Specifically targeting Muslim women who wear garments such

in Representing ethnicity in contemporary French visual culture
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Art in the first industrial society

important political division was not between Protestants and Roman Catholics, but between the increasingly fragmented elements of the Protestant churches. The pre-1835 unreformed units of city government, the corporations, were often dominated by Anglican 16 Introduction landowning interests associated with the Tory party. Many of the new urban middle class were Nonconformists allied to the Whig and Liberal parties. This politico-religious division was to cut across much of nineteenth-century urban political life and threatened the cultural fragmentation of the city

in High culture and tall chimneys
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post-communist era. Piotr Piotrowski characterises the post-communist era as ‘agoraphilic’, manifesting a ‘drive to enter the public space, the desire to participate in that space, to shape public life, to perform critical and design functions for the sake of and within social space’.3 These artists entered and occupied public space with their corporeal presence, in many cases being able to do so for the first time only after the regime change. Conversely, during the communist period, this ‘participation’ and ‘design’ took place largely within an alternative, closed

in Performance art in Eastern Europe since 1960
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Introduction Introduction: writing photo-­graphic histories of empire In his well-­known reflections on the revolution in France, Edmund Burke pointed to the emergence of a ‘new conquering empire of light’. Associating it with the liberatory rhetoric of Enlightenment thought, he took aim at its central metaphor – the empire of light and reason and its vision of a naked truth: But now all is to be changed. All the pleasing illusions, which made power gentle and obedience liberal, which harmonized the different shades of life, and which, by a bland

in Empires of light
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Redemption and the return to origins

7 North’s gardens: redemption and the return to origins Leaving Freshwater Virginia Woolf offered two reasons to explain why the Camerons left Freshwater in 1875. In her foreword to Victorian Photographs of Famous Men and Fair Women (1926), she described their decision to ‘return to the East’ as a combination of Charles’s longing to live out the final days of his life in peace and warmth, surrounded by nature, and their shared desire to live near their sons in Ceylon, where they could reduce their cost of living and keep an eye on their estates. Once their

in Julia Margaret Cameron’s ‘fancy subjects’
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Introduction This study is based on the premise that in an increasingly globalised world, mobility and cultural contacts are both common aspects of everyday life and complicating factors with respect to national, regional, cultural and communal identities and notions of belonging. Millions of people are migrating, and even those who have never left their homeland are affected by the restlessness of our contemporary world.1 Paul Virilio has pinpointed the urgency and enormous consequences of recent migration: A billion people moving over half a century – that

in Migration into art