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Colin Trodd

The first part of this article focuses on previously unstudied materials relating to the critical recuperation of William Blake in the period between c.1910 and 1930. It notes how commentators utilised ideas of citizenship and hospitality when they attempted to modernise Blake’s interests and concerns. It explains how these distinctive critical idioms were constructed, what they had in common and how they situated Blake in larger public arguments about the social significance of cultural creativity. The second part of the article traces the ramifications of this new way of thinking about Blake by noting his appearance in modernist and neo-romantic art criticism in the 1930s and 1940s.

Bulletin of the John Rylands Library
Visual Advocacy in the Early Decades of Humanitarian Cinema
Valérie Gorin

.hoover.blogs.archives.gov/2019/06/05/herbert-hoover-american-relief-administration-brussels-belgian-ca-1919/ (accessed 26 December 2020 ). Shusterman , R. ( 2012 ), ‘ Photography as Performative Process ’, The Journal of Aesthetics and Art Criticism , 70 : 1 , 67 – 77 . The Times ( 1921 ), ‘ The Question of Guarantees ’ ( 10 September ), 9 . Torchin , L. ( 2006 ), ‘ Ravished Armenia: Visual Media, Humanitarian Advocacy, and the Formation of Witnessing Publics ’, American Anthropologist , 108 : 1 , 214 – 20 . Tusan

Journal of Humanitarian Affairs
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Culture and memory after the Armistice
Editors: Trudi Tate and Kate Kennedy

This book revisits the end of the First World War to ask how that moment of silence was to echo into the following decades. It looks at the history from a different angle, asking how British and German creative artists addressed, questioned and remembered the Armistice and its silence. The book offers a genuinely interdisciplinary study, bringing together contributions from scholars in art history, music, literature and military history. It is unique in its comparison of the creative arts of both sides; assessing responses to the war in Britain, Germany and Austria. Together, the different chapters offer a rich diversity of methodological approaches, including archival research, historical analysis, literary and art criticism, musical analysis and memory studies. The chapters reconsider some well-known writers and artists to offer fresh readings of their works. These sit alongside a wealth of lesser-known material, such as the popular fiction of Philip Gibbs and Warwick Deeping and the music of classical composer Arthur Bliss. The wide-ranging discussions encompass such diverse subjects as infant care, sculpture, returned nurses, war cemeteries, Jewish identity, literary journals, soldiers' diaries and many other topics. Together they provide a new depth to our understanding of the cultural effects of the war and the Armistice. Finally, the book has a recuperative impulse, bringing to light rare and neglected materials, such as the letters of ordinary German and British soldiers, and Alfred Doblin's Armistice novel.

Open Access (free)

The interest in aesthetics in philosophy, literary and cultural studies is growing rapidly. This book contains exemplary essays by key practitioners in these fields which demonstrate the importance of this area of enquiry. New aestheticism remains a troubled term and in current parlance it already comes loaded with the baggage of the 'philistine controversy' which first emerged in an exchange that originally that took place in the New Left Review during the mid-1990s. A serious aesthetic education is necessary for resisting the advance of 'philistinism'. Contemporary aesthetic production may be decentred and belonging to the past, but that is not a reason to underestimate what great works do that nothing else can. Despite well-established feminist work in literary criticism, film theory and art history, feminist aesthetics 'is a relatively young discipline, dating from the early 1990s'. The book focuses on the critical interrogation of the historical status of mimesis in the context of a gendered and racial politics of modernity. Throughout the history of literary and art criticism the focus has fallen on the creation or reception of works and texts. The book also identifies a fragmentary Romantic residue in contemporary aesthetics. The Alexandrian aesthetic underlies the experience of the 'allegorical'. 'Cultural poetics' makes clear the expansion of 'poetics' into a domain that is no longer strictly associated with 'poetry'. The book also presents an account of a Kantian aesthetic criticism, discussing Critique of Pure Reason, Critique of Aesthetic Judgement and Critique of Judgement.

The problematic nature of the limited edition
K.E. Gover

. 16 Davies, David. ‘Multiple Instances and Multiple “Instances”,’ British Journal of Aesthetics 50 (2010): 411–26. * K. E. Gover. 2015. ‘Are All Multiples the Same? The Problematic Nature of the Limited Edition’. The Journal of Aesthetics and Art

in Perspectives on contemporary printmaking
Arthur Young and country house picture collections in the late eighteenth century
Jocelyn Anderson

to publish his research on agriculture, his writings about houses and picture collections were intended to be read as popular art criticism which would be useful to anyone making a tour of their own, or merely imagining one. ‘Take particular notice of this picture’: embedding descriptions of country houses within an agricultural tour Although there were tourists writing privately about country house art collections in the mid-eighteenth century, to publish accounts of them was still relatively unusual, and Young positioned his descriptions of houses carefully. His

in Travel and the British country house
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Rethinking the audio-visual contract
Ming-Yuen S. Ma

than ten years later, sound studies is a rapidly growing field to which many scholars from different disciplines, including art, music, cultural studies, history, philosophy, anthropology, architecture, and the natural sciences contribute. However, there remain significant gaps and absences within the formation of sound studies. There is no soundtrack aims to address two of these areas specifically and in juxtaposition: first, its exploration on sound in experimental media art points to a comparative lack of such scholarship in art history, art criticism, and in

in There is no soundtrack
Anne Ring Petersen

captured by binary thinking. There are several cores, many semi-peripheries and numerous local peripheries.47 The pitfalls of cultural identity The blind spots in the critique of Westernism remind us of the need for more complexity-sensitive methods and theories in the field of art history and art 79 80 Migration into art criticism. However, the development of such a conceptual apparatus would be beyond the scope of this study, as would the task of reconciling the dual demand for equality and difference, which is ‘the dilemma, the conundrum – the multi

in Migration into art
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.

This unique anthology presents thirty-two texts on contemporary prints and printmaking written from the mid-1980s to the present. The essays range from academic art history to popular art criticism and creative writing; taken together, they form a critical topography of printmaking today.

The book’s four sections provide: A genealogy of printmaking and print culture; A sample of debates on contemporary printmaking, beginning with Ruth Weisberg’s influential ‘The syntax of print’ (1986); A range of critical terms and themes; Examples of some of the major spheres of print activity, such as production, collecting, dissemination, education and research

Drawing on a cast of distinguished scholars, artists and curators, the book makes available a selection of widely dispersed and difficult-to-find texts. This includes extracts from works not yet available in English, such as Die Welt als T-Shirt (1997) by Beat Wyss and La Ressemblance par contact (2008) by Georges Didi-Huberman. There are also contributions from scholar and book artist Johanna Drucker, mathematician and computer artist Frieder Nake, curators Daniel F. Herrmann, Gill Saunders and Mari Carmen Ramírez, and the editors of the award-winning website Printeresting.

Featuring an overall introduction by the editor, as well as introductions to each of the sections, the anthology is aimed at an audience of international stakeholders in the field of contemporary prints, printmaking and print media, ranging from art students and practising artists to museum curators, critics, educationalists and scholars. It provides the basis for an expansion of the debate in the field and a starting point for further research.