Search results

You are looking at 1 - 10 of 195 items for :

  • professional identity x
  • Art, Architecture and Visual Culture x
Clear All
A genteel life in trade
Conor Lucey

artisanal identity is no longer tenable, and ‘the complexity and richness of the lives of early modern craftsmen should not be reduced simply to their labour in the workshop’.2 Did artisans from the building industry, from sawyers and lumber merchants to carpenters, bricklayers and house painters, generally belong to the middling or lower ranks of society? As discussed in the Introduction, the use of the term ‘artisan’ was often imprecise in eighteenth-​century social discourse, embracing the different strata of professional organisation that existed between a master

in Building reputations
Abstract only
Anne Ring Petersen

determinations. In this book, artists will thus appear in three different roles: as professional labour migrants, as presumed spokespersons for particular groups of migrants, and as individual artists who articulate subjective perspectives on the world by means of aesthetics. Since the question of how individual and cultural identities are shaped in migration is at the heart of this book, half of its chapters (Chapters 2, 3 and 5) are concerned with the discourse on identity politics in the art world or how artworks can articulate experiences of multiple attachments and evoke

in Migration into art
Art institutions and urban society in Lancashire, 1780–1914
Author: James Moore

During the nineteenth century industrial Lancashire became a leading national and international art centre. In 1857 Manchester hosted the international Art Treasures Exhibition at Old Trafford, arguably the single most important art exhibition every held. By the end of the century almost every major Lancashire town possessed an art gallery, while Lancashire art schools and artists were recognised nationally and internationally. This book examines the reasons for the remarkable rise of visual art in Lancashire and its relationship to the rise of the commercial and professional classes who supported it. Lancashire is rarely seen by outsiders as a major cultural centre but the creation of a network of art institutions facilitated a vibrant cultural life and shaped the civic identity of its people. The modern industrial towns of Lancashire often looked to the cultural history of other great civilisations to understand the rapidly changing world around them. Roscoe’s Liverpool of the late eighteenth century emulated Medici’s Florence, Fairbairn’s Manchester looked to Rome, while a century later Preston built an art gallery as a tribute to Periclean Athens. Yet the art institutions and movements of the county were also distinctively modern. Many embraced the British fashions of the time, while some looked to new art movements abroad. Art institutions also became a cultural battleground for alternative visions of the future, from those that embraced modern mass production technologies and ‘commercial art’ to those that feared technology and capitalism would destroy artistic creativity and corrode standards of excellence.

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.

From Burke’s Philosophical Enquiry to British Romantic art
Author: Hélène Ibata

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.

Abstract only
Art in the first industrial society
James Moore

for understanding how a variety of cultural and geographical identities can be expressed through artistic patronage and production. Gunn has shown how the specificities of locality and region could be expressed by newly emergent cultural practice and how cultural performances reshaped those identities.11 Although London institutions exercised a powerful influence over the national art market, regional art activity, particularly that in Lancashire, did much to shape the taste for modern British paintings – a trend well established by the early Victorian period

in High culture and tall chimneys
Anne Ring Petersen

politics to refer to political and ideological arguments that focus on the self-interest and perspectives of artists and groups of artists that have hitherto been marginalised in the West, and especially in Europe, on the basis of their cultural identity and non-Western origin. Obviously, not all artists from any given minority are professionally involved in identity politics. However, this is of minor relevance to the argument developed here, as the focus of this chapter is not the identity of individual artists but a discourse on cultural identity in which artists are

in Migration into art
Abstract only
Anca I. Lasc

Introduction In 1881, the city of Paris sought to establish a furnishing school – the future École Boulle (opened in 1886) – in the very heart of Faubourg SaintAntoine, the city’s center for trade and manufacturing. For this, it attempted to gain the support of professionals already working in the trades, including furniture and upholstery. Legriel and Lemoine, the presidents at the time of the Chambre syndicale de la tapisserie and the Chambre syndicale de l’ameublement, respectively, opposed the project vehemently. Chief among their concerns was the

in Interior decorating in nineteenth-century France
Anne Ring Petersen

Shonibare, Delhi-based British expatriate Bharti Kher, and Vietnamese-born Danh Vo, who grew up in Denmark, spent the early years of his professional career in Berlin and then became a resident of Mexico City. Stuart Hall’s observation that ‘identities are about questions of using the resources of history, language and culture in the process of becoming rather than being’ is pertinent to the work of all three of these artists.1 While there are obvious differences between their artistic practices and the geopolitical contexts in which they unfold, Kher, Shonibare and Vo

in Migration into art