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The photobook as confluence
Paul Edwards

connection brings home the temporal aspect of the collective creation of meaning. Just as American feminist photographers and book makers worked from the margins to bring ‘women’s work’ and the ‘home made’ into the fine art market (and into more socially relevant streams of circulation), so too Black British photographers, faced with systemic discrimination, found ways to ‘package’ their photographs and tell their stories. The marginalisation and invisibility of Black British photographers in the historiography is the

in The photobook world
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Activism and design in Italy

Precarious objects is a book about activism and design. The context is the changes in work and employment from permanent to precarious arrangements in the twenty-first century in Italy. The book presents design interventions that address precarity as a defuturing force affecting political, social and material conditions. Precarious objects shows how design objects, called here ‘orientation devices’, recode political communication and reorient how things are imagined, produced and circulated. It also shows how design as a practice can reconfigure material conditions and prefigure ways to repair some of the effects of precarity on everyday life. Three microhistories illustrate activist repertoires that bring into play design, and design practices that are grounded in activism. While the vitality, experimental nature and traffic between theory and praxis of social movements in Italy have consistently attracted the interest of activists, students and researchers in diverse fields, there exists little in the area of design research. This is a study of design activism at the intersection of design theory and cultural research for researchers and students interested in design studies, cultural studies, social movements and Italian studies.

Rethinking art, media, and the audio-visual contract

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.

Visualising a changing city

Delving into a hitherto unexplored aspect of Irish art history, Painting Dublin, 1886–1949 examines the depiction of Dublin by artists from the late-nineteenth to the mid-twentieth century. Artists’ representations of the city have long been markers of civic pride and identity, yet in Ireland, such artworks have been overlooked in favour of the rural and pastoral, falling outside of the dominant disciplinary narratives of nationalism or modernism. Framed by the shift from city of empire to capital of an independent republic, this book chiefly examines artworks by of Walter Frederick Osborne (1857–1903), Rose Mary Barton (1856–1929), Jack Butler Yeats (1871–1957), Harry Aaron Kernoff (1900–74), Estella Frances Solomons (1882–1968), and Flora Hippisley Mitchell (1890–1973), encompassing a variety of urban views and artistic themes. While Dublin is renowned for its representation in literature, this book will demonstrate how the city was also the subject of a range of visual depictions, including those in painting and print. Focusing on the images created by these artists as they navigated the city’s streets, this book offers a vivid visualisation of Dublin and its inhabitants, challenging a reengagement with Ireland’s art history through the prism of the city and urban life.

From Burke’s Philosophical Enquiry to British Romantic art

The challenge of the sublime argues that the unprecedented visual inventiveness of the Romantic period in Britain could be seen as a response to theories of the sublime, more specifically to Edmund Burke’s Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). While it is widely accepted that the Enquiry contributed to shaping the thematics of terror that became fashionable in British art from the 1770s, this book contends that its influence was of even greater consequence, paradoxically because of Burke’s conviction that the visual arts were incapable of conveying the sublime. His argument that the sublime was beyond the reach of painting, because of the mimetic nature of visual representation, directly or indirectly incited visual artists to explore not just new themes, but also new compositional strategies and even new or undeveloped pictorial and graphic media, such as the panorama, book illustrations and capricci. More significantly, it began to call into question mimetic representational models, causing artists to reflect about the presentation of the unpresentable and the inadequacy of their endeavours, and thus drawing attention to the process of artistic production itself, rather than the finished artwork. By revisiting the links between eighteenth-century aesthetic theory and visual practices, The challenge of the sublime establishes new interdisciplinary connections which address researchers in the fields of art history, cultural studies and aesthetics.

Women in the printing industry
Jesse Adams Stein

, however, they were not always well supported. There was often a stark contrast between discourse and practice. Anti-discrimination language encouraged female would-be apprentices to apply, and yet their day-to-day experiences on the shop floor were at times highly problematic. There remained strong masculine subcultures in the printing industry that operated to exclude, discriminate and harass these newly admitted women. Even though the policy and language converted to a discourse of anti-discrimination by the 1980s, entrenched prejudices remained on the shop floor for

in Hot metal
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Joseph McGonagle

remains complex and difficult. This has been demonstrated repeatedly over recent decades. Calls in the late 1990s for quotas for ethnic minorities to appear on French television were met with widespread derision and Nicolas Sarkozy was roundly attacked for advocating positive discrimination in employment laws in November 2003. The main reason for this reaction is that such affirmations of ethnicity are at odds with the French Republic’s principle of universalism, which insists upon non-differentiation of its citizens as a guarantee of egalitarianism. As the first

in Representing ethnicity in contemporary French visual culture
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Brigitte Rollet

another autobiographical text. Beyond the categorisation of the film, it seems quite probable that she was confronted with discrimination based on the one hand on her sex and on the other on her background as an actress. The actress-director Nicole Garcia encountered similar problems when she made her second film, Le Fils préféré, in 1994. After a first film, Un Week-end sur deux (1990), dealing with ‘women’s issues’ such as divorce and motherhood, the main protagonists of Le Fils préféré were male. Questions then arose about the

in Coline Serreau
From Hélio Oiticica to Rasheed Araeen and Lee Wen
Eva Bentcheva
María José Martínez Sanchez

viewers could enter and embody an architectural space of their own; and finally Newyorkaise , an expansive and unfinished collection of poetic and propositional writings centred on a conceptual engagement with New York. Despite the richness of these works, however, Oiticica’s celebration of New York gave way to feelings marked by pessimism, discrimination and exile by the end

in Charting space
Open Access (free)
Raquel Salvatella de Prada

does not feel at home there because he experiences racism and discrimination. His will to migrate to Europe remains unbroken. For the first iteration of the installation, the dome structure was created using a 3D-printable geodesic connector system with hardwood dowels. Trace paper was used as the rear projection screen. The second iteration was created using plywood, and the final piece was built using oak, often used in Moroccan woodwork. To reduce the possibility of fire hazards, a professional rear screen projection film was chosen that is

in Migrants shaping Europe, past and present