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Writing queer feminist transnational South Asian art histories
Alpesh Kantilal Patel

student population, who found the curry restaurants’ affordable dining options in close proximity to student housing.76 Indeed, the clientele of a contemporary Curry Mile restaurant is not largely South Asian, but white and middle class. More recently, refugee communities and social groups – Eastern European, Kurdish and Islamic – have settled on the side streets off the Wilmslow Road main corridor, making Curry Mile Manchester’s most ethnically diverse neighbourhood. The moniker ‘Curry’ Mile itself belies the topography of the strip, which includes a smorgasbord of

in Productive failure
Images of female suicide bombers in the Middle East
Verena Straub

establishing a genealogy of martyrdom. This creates a mise-​en-​abyme effect of a seemingly endless repetition of martyr images within martyr images (Maasri 2009, 96). Not only were these videotapes sent to Lebanese and Syrian television stations for official broadcast on the evening news, VHS cassettes of SSNP martyrs’ video statements were also widely available at kiosks in west Beirut (Pipes 1988, 320; Maasri 2009, 123). This trend of recording personal testimonies, initiated by secular Lebanese parties (the SSNP and LCP) in 1985, would be appropriated by Islamic militant

in Image operations
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Joseph McGonagle

brought the Pasqua law, which further toughened entry and residence regulations for foreigners. In the autumn of 1989 the place of Islam in France began to attract unprecedented political and media interest. When the headmaster of a state school in Creil, north of Paris, suspended three young Muslim women for wearing headscarves – because he judged it contrary to long-standing French laws on secularism in French schools – his decision became a major political controversy and was quickly dubbed the ‘affaire du foulard’ (headscarf affair). Forced to act, the Minister of

in Representing ethnicity in contemporary French visual culture
Jasmine Allen

’ (types of Moorish art of the most remarkable heritage left to us in Algeria).92 The most important room of the pavilion, a rotunda-​shaped reception room for the French marshal, was ‘lighted dramatically by spherical stained glass windows’.93 Zeynep Çelik has discussed the significance of this pavilion as a political symbol, one in which local architecture was appropriated by a colonial power.94 The Algerian Pavilion erected for the following French Exposition Universelle of 1889 featured stained glass windows by Didron, in arabesque patterns reminiscent of Islamic

in Windows for the world
Caroline Turner and Jen Webb

tradition that, as artist Redza Piyadasa has noted, began post-1945 in British Malaya. After Independence in 1957 the new Malaysian Government actively encouraged cultural and artistic developments with scholarships, educational initiatives and the creation of a Malaysian National Gallery.36 Many Malaysian artists, including Piyadasa, studied abroad, and subsequently sought to explore regional practices and The artist as cultural and political activist materials as well as local themes in art, including Islamic abstractionism (pioneered by Sulaiman Esa), in ways that

in Art and human rights
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Representing people of Algerian heritage
Joseph McGonagle

viewers no closer to discerning any further details about her. Nonetheless, while Sedira appears to disclose rather little, by displaying herself in this way she in fact makes important points about the politics of veiling and its cultural heritage. As its title suggests, Sedira does not intend this to be solely selfportraiture; appearing as – or impersonating – the Virgin Mary emphasises the common cultural heritage of both Christianity and Islam, often characterised as polar opposites. As Sedira herself has stated, this type of veil – today connoted as Muslim – was

in Representing ethnicity in contemporary French visual culture
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James Elkins

accelerating interest in how images act in the world, beyond the gallery and outside of fine art. Shortly before the ‘Image Operations’ conference in April 2014, the journalist Seymour Hersh claimed that Abu Ghraib images include videos of boys sodomised in front of their mothers (February 2014). Since the conference there have been a number of other events that have made the conference’s subject even more pertinent:  Barack Obama acknowledged that a drone strike killed hostages (April 2015); there have been many more Islamic State execution videos; and as several of the

in Image operations
John M. MacKenzie

generally pierced to permit the circulation of air, often from squares, courtyards and (for the elite) extensive surrounding gardens and water features. On the other hand, Islamic societies practised architectural enclosure in relation to the desire for the protection of women, with enclosed balconies from which women could observe either the outer or inner worlds or the structurally hidden harem or zenana space. With this notable exception, as well as the premium on defence in some places, indigenous architecture reflected an openness which was precluded both by climate

in The British Empire through buildings
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Portraits of the monarch in colonial ritual
Susie Protschky

infrastructure. At first contact with the Dutch these kingdoms were already Islamic. However, the rulers’ divine authority continued to draw upon the sacred mountains that circled their lands. These landscapes were steeped in animistic and Hindu-Buddhist cosmologies, as attested by the great temple complexes of Prambanan and Borobudur, built by the Sanjaya and Sailendra dynasties, respectively, in the ninth century CE. The chronicles ( babad ) composed at Central Javanese courts combine the mythologies and histories of these dynasties, including their descent from the gods

in Photographic subjects
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Jens Eder and Charlotte Klonk

counterinsurgent image propaganda into discredit. On the one hand, its footage was instrumental in the death of innocent people and the imprisonment of Private Bradley (Chelsea) Manning, who was charged with disclosing the video. On the other, the video contributed to turning the tide of the war in Iraq, and to this day WikiLeaks’ fame is connected with its disclosure. Image C: on Wednesday, 20 August 2014, a video appeared on YouTube that showed the execution of the American journalist James Foley by a member of the militant jihadist group, the so-​called Islamic State (IS). It

in Image operations