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Bulletin of the John Rylands Library
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American correspondences in visual and verbal practices

Mixed Messages presents and interrogates ten distinct moments from the arts of nineteenth, twentieth and twenty-first century America where visual and verbal forms blend and clash. Charting correspondences concerned with the expression and meaning of human experience, this volume moves beyond standard interdisciplinary theoretical approaches to consider the written and visual artwork in embodied, cognitive, and contextual terms. Offering a genuinely interdisciplinary contribution to the intersecting fields of art history, avant-garde studies, word-image relations, and literary studies, Mixed Messages takes in architecture, notebooks, poetry, painting, conceptual art, contemporary art, comic books, photographs and installations, ending with a speculative conclusion on the role of the body in the experience of digital mixed media. Each of the ten case studies explores the juxtaposition of visual and verbal forms in a manner that moves away from treating verbal and visual symbols as operating in binary or oppositional systems, and towards a consideration of mixed media, multi-media and intermedia work as brought together in acts of creation, exhibition, reading, viewing, and immersion. The collection advances research into embodiment theory, affect, pragmatist aesthetics, as well as into the continuing legacy of romanticism and of dada, conceptual art and surrealism in an American context.

From the Global to the Local
Elena Fiddian-Qasmiyeh

). Even with pledges secured, UNRWA’s ability to ‘perform its primary functions’ and meet Palestinians’ needs and rights in 2018 has been acutely threatened, and is in significant decline ( ibid .). In such a context, it is unsurprising that many Palestinian refugees have been asking whose and which rights are being prioritised through UNRWA’s campaigning and operational shifts. Indeed, before turning to the operational shifts implemented since January 2018, it is worth noting that UNRWA’s #DignityIsPriceless campaign has used images and text

Journal of Humanitarian Affairs
Douglas Morrey

images and text from the films, published by Gallimard. The complete Histoire(s) du cinéma was also screened on Canal Plus in France over eight weeks in the summer of 1999. The arrival of the Histoire(s) was the occasion for a revival of critical, public and academic interest in Godard, the release of the film coinciding with the publication of a new, two-volume edition of Jean-Luc Godard par Jean-Luc Godard , the

in Jean-Luc Godard
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Decentring modernity
Vanesa Rodríguez-Galindo

pace at which reproductions of images and texts from distant places could travel and alter the way societies viewed themselves, the world, and others. These are some of the themes that will be dealt with throughout this book. The history of any city is not straightforward; there are as many accounts of a city as there are ways of writing, experiencing, and representing it. Furthermore, any exploration of the life of industrialised cities demands a reckoning with the elusive yet unavoidable concept of modernity. Today, as in the nineteenth century, the meaning of

in Madrid on the move
Nancy Spero’s manifestary practice
Rachel Warriner

relationship to the free, moving figure. Spero’s lack of attention to the derivation of her source helps to frame this relationship between image and text as part of her ideological intent for this piece. In repurposing historical and cultural source material, Spero asserts that throughout time, patriarchal culture has been oppressing women physically, sexually and intellectually. In attributing this to Derrida she maintains that it was very much contemporary to her own historical position, rather than crediting the quotation, and with this the idea, to someone working in

in Mixed messages
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Feeling modern and visually aware in the nineteenth century

Madrid on the move is a full-length monograph on illustrated print culture and the urban experience in nineteenth-century Spain. It provides a fresh account of modernity by looking beyond its canonical texts, artworks, and locations and exploring what being modern meant to people in their daily lives. The nineteenth century marked a crucial moment for cities across the West. Urbanisation, technological innovations, and the development of a mass culture yielded new forms of spectatorship and experiencing city life. Madrid underwent these processes just as many other European capitals did, and, as a result, the effects of urban and social change were at the heart of the growing number of circulating images and texts. Rather than shifting the loci of modernity from Paris or London to Madrid, this book decentres the concept and explains the modern experience as part of a more fluid, wider phenomenon. Meanings of the modern were not only dictated by linguistic authorities and urban technocrats; they were discussed, lived, and constructed on a daily basis. Cultural actors and audiences continuously redefined what being modern entailed and explored the links between the local and the global, two concepts and contexts that were being conceived and perceived as inseparable. Across images and printed media – from illustrated magazines, caricatures, and postcards to journalistic writing, guidebooks, and maps – what surfaced was an acute awareness of the demands of modernisation and a feeling of forming part of (whether half-heartedly or with conviction) an increasingly entangled world.

Mechthild Fend

This chapter is dedicated to the function of skin in artistic anatomy. Anatomy, defined as a discipline that produces knowledge about the human body via dissection, tends to cut through the skin in order to gain access to the body's interior formation. In many anatomical illustrations, the removal of skin is dramatically staged in flayed figures that are emblematic of anatomy's focus on the body's interior. For artistic practices this was increasingly seen as a problem: if the artists' aim was typically the representation of living human figures, then anatomical knowledge could be both a means to an end and an obstacle. Since the end of the eighteenth century, illustrated anatomical publications especially dedicated to artists paid more and more attention to the body's exterior and a new genre of text books named 'anatomies of exterior forms' emerged. The chapter focuses on nineteenth-century artistic anatomies taking such a morphological approach – in particular the works by Jean-Galbert Salvage, Pierre-Nicolas Gerdy, and Julien Fau – and argues that images and texts develop a strategy of projecting anatomical knowledge onto the body's surface allowing the artist to mentally render the human skin transparent.

in Fleshing out surfaces
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To fasten words again to visible – and invisible – things
Catherine Gander and Sarah Garland

artistic experimentation, and to bring together the complex relationships in these works between the imagistic, the symbolic and the concrete. Mixed Messages assembles essays on modern and contemporary works that challenge the historic separation of visual and verbal, instead reading poetry, illustrated texts, artists’ books, philosophy, conceptual art, architecture, painting, comic books, photography, digital media, installations and exhibitions as places where images and texts meet and are mutually enhanced. By returning to books and artworks as physical objects whose

in Mixed messages
Word and image in the twenty-first century. Envoi
Catherine Gander and Sarah Garland

11 The idea, the machine and the art: word and image in the twenty-first century. Envoi1 Catherine Gander and Sarah Garland In this collection we have been arguing, both explicitly and by implication, that image and text works be considered as mixed, blended and hybrid forms that are embedded in bodily and cognitive experience. These moments of attention to word and image are themselves rooted in particular moments in history, and within particular interior and exterior geographies where ‘the idea becomes a machine that makes the art’, as Sol LeWitt wrote in

in Mixed messages