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Bulletin of the John Rylands Library
Bulletin of the John Rylands Library
An Illustration of Otherness in John Nalson’s An Impartial Collection
Helen Pierce

An Impartial Collection of the Great Affairs of State was published in London, in two volumes, between 1682 and 1683. Its author John Nalson was a fervent believer in the twin pillars of the monarchy and the Anglican Church. In An Impartial Collection he holds up the internecine conflict of the 1640s as an example not to be followed during the 1680s, a period of further religious and political upheaval. Nalson’s text is anything but neutral, and its perspective is neatly summarised in the engraved frontispiece which prefaces the first volume. This article examines how this illustration, depicting a weeping Britannia accosted by a two-faced clergyman and a devil, adapts and revises an established visual vocabulary of ‘otherness’, implying disruption to English lives and liberties with origins both foreign and domestic. Such polemical imagery relies on shock value and provocation, but also contributes to a sophisticated conversation between a range of pictorial sources, reshaping old material to new concerns, and raising important questions regarding the visual literacy and acuity of its viewers.

Bulletin of the John Rylands Library
Pragmatic perspectives on Frank O’Hara and Norman Bluhm’s Poem-Paintings
Catherine Gander

’, from Emerson’s ‘hostility toward “essentialist” identity logic’ and ‘scepticism of absolutes’7 to James’s ‘“reinstatement of the vague” … designed to make signification flexible’.8 O’Hara’s semiotic non-conformity and pluralist perspectives on his own being-in-the-world are evident in his being-with-others, particularly his collaborative work with Bluhm. The Poem-Paintings as a conversation among social selves Produced over a couple of Sunday mornings in Bluhm’s studio on Park Avenue South,9 the works number twenty-six, mostly measuring 19¼ by 14 inches, and

in Mixed messages
Open Access (free)
Janet Wolff

Annunciation Artist unknown (Bruges), Annunciation, c. 1520 [ 228 ] Francesco Pesellino, Diptych – Annunciation (detail), c. 1450–55 Austerity baby [ 229 ] Petrus Christus, Die Verkündigung an Maria, 1452 Rogier van der Weyden, The Annunciation, c. 1455 Annunciation [ 230 ] Perhaps as perverse as my positive imagining of the malignant tumour, and especially given my aversion to displaced conversations about childbirth, is my long-standing attraction to the scene of the Annunciation in Western art. The appeal is, I’m sure, connected with the fact that the Feast of

in Austerity baby
Sruti Bala

subsequently translated her own text into English. In my case, the page I chose pertained to a particular day on which she was meant to visit a friend of Issa and take a walk with him. The diary notes commented on the difficulties and challenges encountered by Cordero in executing this task, as well as a number of personal impressions and thoughts. In the course of the conversation, which was the first time that Issa and Cordero had spoken to each other after the substitute journey about this incident, the tensions inherent to the concept of this performance artwork became

in The gestures of participatory art
Dominic Johnson

impermeable in ordinary association. (1934: 244) Trengove’s emphasis on the social possibilities that extreme action might engender complements and extends the relevance of Dewey’s theses. By firmly embedding a broad community of individuals in the researching and making of the work – through recorded dialogues with some 60 interviewees – and by forging opportunities for round-the-clock conversations with the artist during the extent of the Passage, Trengove gives stunning reality to Dewey’s account of the communicative potential of art as an experience of ‘making common

in Unlimited action
The afterlife of Brunias’s imagery
Mia L. Bagneris

dome rimmed with gold-hued metal. The imagery – which includes dark-skinned dancing couples in turbans and kerchiefs, pugnacious negroes fighting with ‘cudgelling’ sticks, fabulously outfitted mulatresses engaged in conversation, and beautiful brown blanchisseuses,3 who are, by contrast, fabulously undressed – unequivocally belongs to Brunias. The buttons, reputedly, belonged to Toussaint L’Ouverture. In ‘A Mystery in Miniature’, an aptly titled article published in Smithsonian Magazine in 2000, Ann Geracimos uses the ‘enigmatic’ buttons as a point of entry for

in Colouring the Caribbean
From the 1960s to the 1990s
Nizan Shaked

elaborate upon conceptualist devices by bringing feminism to bear on the criticism of art institutions, by using critical race discourses and postcolonial analysis to question the ideology of knowledge and method, and by rethinking avant-garde strategies for both art and activism during the AIDS crisis. In the late 1980s and 1990s, the synthetic proposition was debated in various guises in colloquies about identity politics and multiculturalism that raised issues of the universal versus the particular, or in conversations that examined the site of the political in art.24

in The synthetic proposition
Proscenium theatre and technologies of illusionism
Niharika Dinkar

), Nur Afshan (Ludhiana) or Utkal Dipika (Cuttack). If journalism took up the task of illuminating hidden secrets in the public sphere, the stage emerged as another public platform where the purdah featured in debates on visibility and concealment, on fiction and realism, bringing the aesthetic and the political into closer conversation. This dialectic of transparency and secrecy drawn from Enlightenment ideals continues to have political import in the public sphere today, but its memorable imperial history of worlds hidden behind ‘bamboo curtains’ and ‘iron curtains

in Empires of light