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Rethinking art, media, and the audio-visual contract
Author: Ming-Yuen S. Ma

There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.

Der Blaue Reiter and its legacies
Author: Dorothy Price

This book presents new research on the histories and legacies of the German Expressionist group, Der Blaue Reiter, the founding force behind modernist abstraction. For the first time Der Blaue Reiter is subjected to a variety of novel inter-disciplinary perspectives, ranging from a philosophical enquiry into its language and visual perception, to analyses of its gender dynamics, its reception at different historical junctures throughout the twentieth century, and its legacies for post-colonial aesthetic practices. The volume offers a new perspective on familiar aspects of Expressionism and abstraction, taking seriously the inheritance of modernism for the twenty-first century in ways that will help to recalibrate the field of Expressionist studies for future scholarship. Der Blaue Reiter still matters, the contributors argue, because the legacies of abstraction are still being debated by artists, writers, philosophers and cultural theorists today.

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The material and visual culture of the Stuart Courts, 1589–1619
Author: Jemma Field

This book analyses Anna of Denmark’s material and visual patronage at the Stuart courts, examining her engagement with a wide array of expressive media including architecture, garden design, painting, music, dress, and jewellery. Encompassing Anna’s time in Denmark, England, and Scotland, it establishes patterns of interest and influence in her agency, while furthering our knowledge of Baltic-British transfer in the early modern period. Substantial archival work has facilitated a formative re-conceptualisation of James and Anna’s relationship, extended our knowledge of the constituents of consortship in the period, and has uncovered evidence to challenge the view that Anna followed the cultural accomplishments of her son, Prince Henry. This book reclaims Anna of Denmark as the influential and culturally active royal woman that her contemporaries knew. Combining politics, culture, and religion across the courts of Denmark, Scotland, and England, it enriches our understanding of royal women’s roles in early modern patriarchal societies and their impact on the development of cultural modes and fashions. This book will be of interest to upper level undergraduate and postgraduate students taking courses on early modern Europe in the disciplines of Art and Architectural History, English Literature, Theatre Studies, History, and Gender Studies. It will also attract a wide range of academics working on early modern material and visual culture, and female patronage, while members of the public who enjoy the history of courts and the British royals will also find it distinctively appealing.

Polly Savage

1977 FRELIMO’s cultural policy borrowed substantially (but not exclusively) from Mao’s, I go on to consider, through a focus on Craveirinha’s practice, how visual artists experienced these parameters. China and FRELIMO Following the 1955 Afro-Asia Conference in Bandung, China had become keen to develop ties in Africa, largely in competition with both the US and, after the Sino-Soviet split, the Soviet Union. Zhou Enlai had visited ten African countries in 1963–64, promising economic, technical and military support to newly independent nations and liberation movements

in Art, Global Maoism and the Chinese Cultural Revolution
Kent Fedorowich

excitement, and consequently the matter of emigration has fallen very far into the background’, reported W. W. Cory, Canada’s Deputy Minister of the Interior in August 1914. 2 W. D. Scott, Superintendent of Immigration in Ottawa agreed. Policy discussions had been ‘totally eclipsed by the war’. Conditions were so ‘abnormal’, he explained, that ‘I scarcely know what to recommend’. 3 The Colonial Office

in Unfit for heroes
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Writing queer feminist transnational South Asian art histories
Alpesh Kantilal Patel

’ has several connotations, here it refers to the act of walking or driving in specific pursuit of a partner, in this case for women. 125 Rajinder Kumar Dudrah, ‘Birmingham (UK): Constructing City Spaces through Black Popular Cultures and the Black Public Sphere’, City: Analysis of Urban Trends, Culture, Theory, Policy, Action 6, no. 3 (2002): 343. 126 Butt, ‘Manchester Police Prepare for Double Celebration’. 127 Ibid. 128 ‘Khan Appeals for Trouble-Free Eid’, BBC, 2 November 2005, sec. Manchester,

in Productive failure
A museum perspective on digital fine art printmaking
Gill Saunders

museum of the decorative (and largely domestic) arts, they are also pertinent to narratives of black history and the work of the African Diaspora which has for some years been a key strand in our collecting policy. They also comment on the ideas of product design, branding (in the commercial sense of the word) and marketing. The use of iris print on glossy paper is suggestive of

in Perspectives on contemporary printmaking
John M. MacKenzie

the other two gave way to central authority in the early 1920s and the 1940s, largely as a result of wars. Empire may have had essentially economic origins in the sense of being about a search for wealth 30 Construction and destruction through trade, but that did not make the material presence of empire any less imperial. Nevertheless, colonies were generally expected to pay for themselves, either through the taxation of indigenous peoples (as in the case of India and many African colonies) or through fiscal policies relating to the products of hunting (as in

in The British Empire through buildings
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Producing art, producing art history
Alpesh Kantilal Patel

/an-industrial-city-s-architecturalrebirth-new-museums-brighten-manchester.html. The Lowry was even cited as ‘The British Building of the Year’ in 2000 by The Royal Fine Art Commission Trust, ahead of London’s Tate Modern, also completed that year. 40 Head of economic and urban policy, ‘Manchester: Knowledge Capital, Innovation Nation’ (Manchester: Manchester City Council, 10 December 2008), 41 Cornerhouse in 2012 merged with the Library Theatre Company to become ‘HOME’. See: 42 John Hyatt, ‘Avenue of the Giants: A Public Art Strategy for Manchester Oxford Road

in Productive failure
Anne Ring Petersen

: the structural power of binary thinking must be recognised in order for it to be challenged. In addition, with respect to transcultural relations, it is just as important to be attentive to connections and similarities as to differences and disjunction. For more than a thousand years, travel and trade, colonialism and warfare have connected European cultures to the Middle East, Africa, the Americas, Asia and beyond, so it will always be difficult, if not impossible, to make clear-cut distinctions between cultures. In addition, ‘Western’ liberalism and individualism

in Migration into art