Women Art Workers constitutes the first comprehensive history of the network of women who worked at the heart of the English Arts and Crafts movement from the 1870s to the 1930s. Challenging the long-standing assumption that the Arts and Crafts simply revolved around celebrated male designers like William Morris, this book instead offers a new social and cultural account of the movement, which simultaneously reveals the breadth of the imprint of women art workers upon the making of modern society. Thomas provides unprecedented insight into how women – working in fields such as woodwork, textiles, sculpture, painting, and metalwork – navigated new authoritative roles as ‘art workers’ by asserting expertise across a range of interconnected cultures so often considered in isolation: from the artistic to the professional, intellectual, entrepreneurial, and domestic. Through examination of newly discovered institutional archives and private papers, and a wide range of unstudied advertisements, letters, manuals, photographs, and calling cards, Women Art Workers elucidates the critical importance of the spaces around which women conceptualised alternative creative and professional lifestyles: guild halls, exhibitions, homes, studios, workshops, and the cityscape. Shattering the traditional periodisation of the movement as ‘Victorian’, this research reveals that the early twentieth century was a critical juncture at which women art workers became ever more confident in promoting their own vision of the Arts and Crafts. Shaped by their precarious gendered positions, they opened up the movement to a wider range of social backgrounds and interests, and redirected the movement’s radical potential into contemporary women-centred causes.
6 Mentoring arts-based research: a tale of two professors Randee Lipson Lawrence and Patricia Cranton A rts-based research has tremendous potential to foster human creativity and bring about cultural and social change. Unfortunately, in our experience, graduate programmes in mainstream academic cultures may not always seek to foster creativity. Bringing the arts into graduate adult education research has the potential to breathe new life into what has become a fixed and often rather dull process. This chapter discusses this practice as it critiques and
The Fine Arts were an important ingredient in any international exhibition of calibre. They were the counter-poise to industry and the sciences, the non-functional aspect of human endeavour every nation had to be seen to participate in to avoid the charge of philistinism. The fine arts carried great honour for those nations thought to excel in them and they bestowed prestige on
Tribe Arts is a philosophically inspired, radical-political theatre, media and production company based in Leeds. Founded by Tajpal Rathore and Samran Rathore, its work aims to amplify the stories and voices of second- and third-generation black and Asian people in Britain, interrogating themes and issues such as race, belonging
2 Exhibiting the Arts and Crafts I n November 1911, a new exhibition titled the Englishwoman Exhibition of Arts and Handicrafts opened at Maddox Street Gallery just off Regent Street in central London.1 For a shilling, visitors could roam around stalls displaying colour printing, lithography, book illustrations, jewellery, and leatherwork, and view loaned special-interest items, such as Buddhist robes and a lace handkerchief once belonging to Marie Louise, Empress of France.2 Over the next few years, the exhibition – which took place every November, just in
As with other contemporary cultural forms in Britain, such as literature and music, the visual arts were caught in the throes of change during the interwar years, which was both profound and deeply unsettling to established mores and conventions. Although the impact of intellectual modernism and avant-gardism on the visual arts in Britain after 1918 was not nearly as momentous as in some continental countries like France and Germany, many modernist ideas and styles would be adopted at some point during the 1920s and 1930s by native artists. 1 This was a new
From its foundation in 1945, the Arts Council of Great Britain (Arts Council hereafter) endorsed cinema as a serious artistic medium, directly supporting and sponsoring art films for almost fifty years. In doing so, even on a much smaller scale by comparison to its support for the traditional fine arts of painting and sculpture, the Arts Council nurtured experiments in film form and shaped the careers of many independent film-makers in a manner that helped to develop a specialised strand of British art cinema from the 1960s onwards
The Arts and Crafts Movement was originally a British response to the generally poor state of the decorative arts and the exploitative conditions that produced them. In the latter half of the nineteenth century a disparate group of artists and designers found a common aim in their belief in the equality of the fine and applied arts. The ‘Movement’ as
The twenty-three Ur III cuneiform texts presented in this article are housed in the collections of the Detroit Institute of Arts. This article publishes thirteen Neo-Sumerian tablets from Puzriš-Dagan which primarily deal with animals, and a further ten texts from Umma, including five messenger texts. The aim of the article is to offer an edition and an updated catalogue of these texts, with a special focus on the Neo-Sumerian administration.
It is important to address the key social and cultural theorisations around issues such as freedom, democracy, knowledge and instrumentalism that impact the university and its relationship with and to the arts. This book maps out various ways in which the arts and creative practices are manifest in contemporary university-based adult education work, be it the classroom, in research or in the community. It is divided into three sections that reflect the normative structure or 'three pillars' of the contemporary university: teaching, research and service. The focus is on a programme that stems from the university's mission and commitment to encouraging its graduates to become more engaged citizens, willing to think critically and creatively about issues of global import, social justice and inequality. The Storefront 101 course, a free University of Calgary literature course for 'non-traditional' adult learners, aims to involve students in active dialogic processes of learning and civic and cultural engagement. Using the concept of pop-up galleries, teacher education is discussed. The book contextualises the place and role of the arts in society, adult education, higher education and knowledge creation, and outlines current arts-based theories and methodologies. It provides examples of visual and performing arts practices to critically and creatively see, explore, represent, learn and discover the potential of the human aesthetic dimension in higher education teaching and research. A more holistic and organic approach to lifelong learning is facilitated by a 'knowing-through-doing' approach, which became foregrounded as a defining feature of this project.