Search results for ""Author Art, Culture"

Since embarking on economic reforms in 1978, the People’s Republic of China has also undergone a sweeping cultural reorganization, from proletarian culture under Mao to middle-class consumer culture today. Under these circumstances, how has a Chinese middle class come into being, and how has consumerism become the dominant ideology of an avowedly socialist country? The Art of Useless offers an innovative way to understand China’s unprecedented political-economic, social, and cultural transformations, showing how consumer culture helps anticipate, produce, and shape a new middle-class subjectivity.Examining changing representations of the production and consumption of fashion in documentaries and films, Calvin Hui traces how culture contributes to China’s changing social relations through the cultivation of new identities and sensibilities. He explores the commodity chain of fashion on a transnational scale, from production to consumption to disposal, as well as media portrayals of the intersections of clothing with class, gender, and ethnicity. Hui illuminates key cinematic narratives, such as a factory worker’s desire for a high-quality suit in the 1960s, an intellectual’s longing for fashionable clothes in the 1980s, and a white-collar woman’s craving for brand-name commodities in the 2000s. He considers how documentary films depict the undersides of consumption—exploited laborers who fantasize about the products they manufacture as well as the accumulation of waste and its disposal—revealing how global capitalism renders migrant factory workers, scavengers, and garbage invisible.A highly interdisciplinary work that combines theoretical nuance with masterful close analyses, The Art of Useless is an innovative rethinking of the emergence of China’s middle-class consumer culture.

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Far-ranging and thought-provoking essays on the relation of art and ethnic identity. This first collection by award-winning author John Yau, drawn from decades of work, includes essays about Black, Asian, Latinx, and Native American artists: sculptors Luis Jimenez and Ruth Asawa; “second generation Abstract Expressionists” such as the Black painter Ed Clark and the Japanese American painter Matsumi Kanemitsu; the performance artists James Luna and Patty Chang; the photographers Laurel Nakadate and Teju Cole; and a generation of Asian American artists that has emerged during the last decade. While identity is at the fore in this collection, Yau’s essays also propose the need for an expansive view of identity, as in the essay “On Reconsidering Identity,” which explores the writings of Lydia Cabrera and Edouard Glissant, and the possibilities of creolisation versus the reductiveness of Aime Cesaire’s Negritude.Please Wait by the Coat Room is for serious readers interested in the art and artists of color that many mainstream institutions and critics misrepresented or overlooked. It presents a view guided by the artists’ desire for autonomy and freedom in a culture that has deemed them undesirable or invisible.

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Since embarking on economic reforms in 1978, the People’s Republic of China has also undergone a sweeping cultural reorganization, from proletarian culture under Mao to middle-class consumer culture today. Under these circumstances, how has a Chinese middle class come into being, and how has consumerism become the dominant ideology of an avowedly socialist country? The Art of Useless offers an innovative way to understand China’s unprecedented political-economic, social, and cultural transformations, showing how consumer culture helps anticipate, produce, and shape a new middle-class subjectivity.Examining changing representations of the production and consumption of fashion in documentaries and films, Calvin Hui traces how culture contributes to China’s changing social relations through the cultivation of new identities and sensibilities. He explores the commodity chain of fashion on a transnational scale, from production to consumption to disposal, as well as media portrayals of the intersections of clothing with class, gender, and ethnicity. Hui illuminates key cinematic narratives, such as a factory worker’s desire for a high-quality suit in the 1960s, an intellectual’s longing for fashionable clothes in the 1980s, and a white-collar woman’s craving for brand-name commodities in the 2000s. He considers how documentary films depict the undersides of consumption—exploited laborers who fantasize about the products they manufacture as well as the accumulation of waste and its disposal—revealing how global capitalism renders migrant factory workers, scavengers, and garbage invisible.A highly interdisciplinary work that combines theoretical nuance with masterful close analyses, The Art of Useless is an innovative rethinking of the emergence of China’s middle-class consumer culture.

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Making a foundational contribution to Mesoamerican studies, this book explores Aztec painted manuscripts and sculptures, as well as indigenous and colonial Spanish texts, to offer the first integrated study of food and ritual in Aztec art.Aztec painted manuscripts and sculptural works, as well as indigenous and Spanish sixteenth-century texts, were filled with images of foodstuffs and food processing and consumption. Both gods and humans were depicted feasting, and food and eating clearly played a pervasive, integral role in Aztec rituals. Basic foods were transformed into sacred elements within particular rituals, while food in turn gave meaning to the ritual performance.This pioneering book offers the first integrated study of food and ritual in Aztec art. Elizabeth Morán asserts that while feasting and consumption are often seen as a secondary aspect of ritual performance, a close examination of images of food rites in Aztec ceremonies demonstrates that the presence—or, in some cases, the absence—of food in the rituals gave them significance. She traces the ritual use of food from the beginning of Aztec mythic history through contact with Europeans, demonstrating how food and ritual activity, the everyday and the sacred, blended in ceremonies that ranged from observances of births, marriages, and deaths to sacrificial offerings of human hearts and blood to feed the gods and maintain the cosmic order. Morán also briefly considers continuities in the use of pre-Hispanic foods in the daily life and ritual practices of contemporary Mexico. Bringing together two domains that have previously been studied in isolation, Sacred Consumption promises to be a foundational work in Mesoamerican studies.

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America's favorite flora are the homey ray flowers, a tribe featuring daisies, sunflowers, chrysanthemums, dahlias, coneflowers, and black-eyed Susans, combined with the elegant, multifaceted rose. Children pick ray flowers for their prepubescent crush or for their mom; when they get older, they graduate to the rose, a more sophisticated choice. Both high culture and pop culture embrace floral imagery; think of Annie Liebovitz's famous nude photograph of Bette Midler blanketed in long-stemmed American Beauties on the cover of Rolling Stone, or zombies featured in a Wars of the Roses comic book. Thousands of postcards and greeting cards are covered in a sea of roses and ray flowers. Meet Daisy Mae, see Daisy the dog, and view the presidential Rose Garden, as well as influential American and European works of art. These images are combined with the history and romance of our favorite flowers. A nonallergenic floral extravaganza!

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No work of Spanish philosopher and essayist Jose Ortega y Gasset has been more frequently cited, admired, or criticized than his defense of modernism, "The Dehumanization of Art." In the essay, originally published in Spanish in 1925, Ortega grappled philosophically with the newness of nonrepresentational art and sought to make it more understandable to a public confused by it. Many embraced the essay as a manifesto extolling the virtues of vanguard artists and promoting their efforts to abandon the realism and the romanticism of the nineteenth century. The "dehumanization" of the title, which was meant descriptively rather than pejoratively, referred most literally to the absence of human forms in nonrepresentational art, but also to its insistent unpopularity, its indifference to the past, and its iconoclasm. Ortega championed what he saw as a new cultural politics with the goal of a total transformation of society. Ortega was an immensely gifted writer in the best belletristic tradition. His work has been compared to an iceberg because it hides the critical mass of its erudition beneath the surface, and because it is deceptive, appearing to be more spontaneous and informal than it really is. Princeton published the first English translation of the essay paired with another entitled "Notes on the Novel." Three essays were later added to make an expanded edition, published in 1968, under the title The Dehumanization of Art and Other Essays on Art, Culture and Literature .

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An interdisciplinary study of the central role that the neighborhood played in seventeenth-century Dutch painting and culture The neighborhood was a principal organizing structure of Dutch cities in the seventeenth century, and each had its own regulations, administrators, social networks, events, and diverse population of residents. Linda Stone-Ferrier argues that this sense of community contributed to the steady demand for pictures portraying aspects of this culture. These paintings, by such artists as Jan Steen and Pieter de Hooch, reinforced the role and values of the neighborhood. Through close readings of such works—by Steen and De Hooch and, among others, Gerrit Dou, Gabriel Metsu, Jacob van Ruisdael, and Johannes Vermeer—Stone-Ferrier deftly considers social history, urban studies, anthropology, and women’s studies in this penetrating exploration. Her new interpretations of seventeenth-century Dutch painting across genres—scenes of streets, domesticity, professions, and festivity—challenge existing paradigms in Dutch art history.

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The first comprehensive monograph on the master contemporary Korean American sculptor, from his seminal wire sculptures to his never-before-seen early works formed of steel. John Pai (b. 1937) is a prolific multimedia artist whose handmade three-dimensional sculptures are, paradoxically, still objects that seem to exist in a state of movement and transformation. This full-career survey of Pai s inventive work consists of his rarely seen early work up to the present. Pai s incredibly intricate, three-dimensional abstract 'drawings in space' are made of endless lengths of individual steel or copper rods and textured sheets made from hundreds of rods welded together. Unlike many contemporary sculptors who draw a sketch and let metalworkers do the actual construction, Pai continues to do all his work himself?from choosing the materials to the labor-intensive process of welding and bending the metals into complex and sometimes massive forms. Immigrating from Korea to the US at age 11, Pai showed his prodigious talent for art at a young age. He received a scholarship to attend Pratt Institute, and in the 1960s, Pai became the youngest professor appointed to the faculty at Pratt. Leading its fine arts and sculpture programs for nearly four decades, Pai proved a talented and beloved educator, nurturing generations of sculptors and fostering the burgeoning Korean artistic community in New York with those such as his contemporary Nam June Paik, reflecting a sensibility outside the mainstream of American art.

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A collection of intensive discussions about the role of visual arts in public life The past decade has seen American culture deeply divided by debates over social identity, public morality, communal values and freedom of expression. A key focus of these polarizing discussions has been the role of visual arts in public life. In Art Matters, five leading cultural critics and two prominent contemporary artists show the ways that this debate has profoundly reshaped our view of American culture. Lucy Lippard investigates the extraordinary recent transformations in visual art; Michele Wallace takes on high art, popular culture, and African American identity; David Deitcher discusses queer culture and AIDS; Carole S. Vance ponders censorship and sexually explicit imagery; and Lewis Hyde considers democracy and culture. Projects by artists Julie Ault and Andrea Fraser provide a context for these debates. Art Matters also offers a close examination of attempts to develop alternative funding sources for artists, focusing specifically on the influential private foundation Art Matters-a foundation which became an important proponent for new forms of art and for protecting freedom of expression through its funding and advocacy efforts.

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Traditionally Dutch art is seen and presented as a coherent phenomenon—the product of state formation in the late 16th century. Elisabeth de Bièvre challenges this view and its assumptions in a radical new account. Arguing that the Dutch Golden Age was far from unified, de Bièvre exposes how distinct geographical circumstances and histories shaped each urban development and, in turn, fundamentally informed the art and visual culture of individual cities. In seven chapters, each devoted to a single city, the book follows the growth of Amsterdam, Delft, Dordrecht, Haarlem, Leiden, The Hague, and Utrecht over the course of five centuries. By embracing the full gamut of art and architecture and by drawing on the records of town histories and the writings of contemporary travelers, de Bièvre traces the process by which the visual culture of the Netherlands emerged to become the richest, most complex material expression in Europe, capturing the values of individuals, corporate entities, and whole cities.

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The enduring influence of naturalist and explorer Alexander von Humboldt on American art, culture, and politicsAlexander von Humboldt (1769–1859) was one of the most influential scientists and thinkers of his age. A Prussian-born geographer, naturalist, explorer, and illustrator, he was a prolific writer whose books graced the shelves of American artists, scientists, philosophers, and politicians. Humboldt visited the United States for six weeks in 1804, engaging in a lively exchange of ideas with such figures as Thomas Jefferson and the painter Charles Willson Peale. It was perhaps the most consequential visit by a European traveler in the young nation's history, one that helped to shape an emerging American identity grounded in the natural world.In this beautifully illustrated book, Eleanor Jones Harvey examines how Humboldt left a lasting impression on American visual arts, sciences, literature, and politics. She shows how he inspired a network of like-minded individuals who would go on to embrace the spirit of exploration, decry slavery, advocate for the welfare of Native Americans, and extol America's wilderness as a signature component of the nation's sense of self. Harvey traces how Humboldt's ideas influenced the transcendentalists and the landscape painters of the Hudson River School, and laid the foundations for the Smithsonian Institution, the Sierra Club, and the National Park Service.Alexander von Humboldt and the United States looks at paintings, sculptures, maps, and artifacts, and features works by leading American artists such as Albert Bierstadt, George Catlin, Frederic Church, and Samuel F. B. Morse.Published in association with the Smithsonian American Art Museum, Washington, DCExhibition ScheduleSmithsonian American Art Museum, Washington, DCSeptember 18, 2020–January 3, 2021

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This remarkable study explores the use of the visual and performing arts to promote nonviolence and social harmony in sub-Saharan Africa. It focuses on Gelede, a popular community festival of masquerade, dance, and song, held several times a year by the Yoruba of Southwestern Nigeria and the Republic of Benin. Babatunde Lawal, an art historian and African scholar who has taught in Nigeria, Brazil, and the United States, is himself a Yoruba and has taken an active part in Gelede. He writes from the perspective of an informed participant/observer of his own culture. Lawal bases his book on extensive field research-observations and interviews-conducted over more than two decades as well as on numerous published and unpublished scholarly sources. He casts significant new light on many previously obscure aspects of Gelede, and he demonstrates a useful methodological approach to the study of non-Western art. The book systematically covers the major aspects of the Gelede spectacle, presenting its cultural background and historical origins as preface to a vivid and detailed description of an actual performance. This is followed by a discussion of the iconography and aesthetics of costume, and an examination of the sculpted images on the masks. The book concludes with a discussion of the moral and aesthetic philosophy of Gelede and its responsiveness to technological and social change. The Gelede Spectacle is illustrated in color and black-and-white with over 100 field and museum photographs, including a rare sequence on the dressing of a masquerader. It offers, in addition, more than 60 Gelede song texts, proverbs, and divination verses, each in the original Yoruba as well as in translation. Lawal's interpretations of these pieces indicate the rich complexities of metaphor and analogy inherent in the Yoruba language and art.

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Animal rights activists today regularly use visual imagery in their efforts to shape the public’s understanding of what it means to be “kind,” “cruel,” and “inhumane” toward animals. Art for Animals explores the early history of this form of advocacy through the images and the people who harnessed their power.Following in the footsteps of earlier-formed organizations like the RSPCA and ASPCA, animal advocacy groups such as the Victoria Street Society for the Protection of Animals from Vivisection made significant use of visual art in literature and campaign materials. But, enabled by new and improved technologies and techniques, they took the imagery much further than their predecessors did, turning toward vivid, pointed, and at times graphic depictions of human-animal interactions. Keri Cronin explains why the activist community embraced this approach, details how the use of such tools played a critical role in educational and reform movements in the United States, Canada, and England, and traces their impact in public and private spaces. Far from being peripheral illustrations of points articulated in written texts or argued in impassioned speeches, these photographs, prints, paintings, exhibitions, “magic lantern” slides, and films were key components of animal advocacy at the time, both educating the general public and creating a sense of shared identity among the reformers.Uniquely focused on imagery from the early days of the animal rights movement and filled with striking visuals, Art for Animals sheds new light on the history and development of modern animal advocacy.

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At the height of the Cold War, art produced in divided Germany contested the cultural demarcation of East and West. Here Claudia Mesch shows how a wide group of artists struggled to take visual art beyond the crude separations of the 'Iron Curtain', and to transcend the first global cultural divide of the twentieth century. Artists in Berlin produced artworks-including painting, performance and film-that engaged critically with imposed national and global identities, and with issues of memory and trauma. 'Around the Berlin Wall' presents a new picture of the Cold War border between East and West as a dynamic and international cultural space, and is essential for all those interested in art history, modernism, the Cold War and the cultural history of the twentieth century.

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Honorable mention, 2017 Best Monograph Award from the British Association of Film, Television and Screen Studies (BAFTSS) From Shortbus to Shame and from Oldboy to Irreversible, film festival premieres regularly make international headlines for their shockingly graphic depictions of sex and violence. Film critics and scholars alike often regard these movies as the work of visionary auteurs, hailing directors like Michael Haneke and Lars von Trier as heirs to a tradition of transgressive art. In this provocative new book, Mattias Frey offers a very different perspective on these films, exposing how they are also calculated products, designed to achieve global notoriety in a competitive marketplace. Paying close attention to the discourses employed by film critics, distributors, and filmmakers themselves, Extreme Cinema examines the various tightropes that must be walked when selling transgressive art films to discerning audiences, distinguishing them from generic horror, pornography, and Hollywood product while simultaneously hyping their salacious content. Deftly tracing the links between the local and the global, Frey also shows how the directors and distributors of extreme art house fare from both Europe and East Asia have significant incentives to exaggerate the exotic elements that would differentiate them from Anglo-American product. Extreme Cinema also includes original interviews with the programmers of several leading international film festivals and with niche distributors and exhibitors, giving readers a revealing look at how these institutions enjoy a symbiotic relationship with the “taboo-breakers” of art house cinema. Frey also demonstrates how these apparently transgressive films actually operate within a strict set of codes and conventions, carefully calibrated to perpetuate a media industry that fuels itself on provocation.

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Reveals how American art in the 1930s—intertwined with the political, social, and economic tumult of an era not so unlike our own—engaged with the public amid global upheaval This publication examines the search for artistic identity in the United States from the stock market crash of 1929 that began the Great Depression to the closure of the Works Progress Administration in 1943 with a focus on the unprecedented dissemination of art and ideas brought about by new technology and government programs. During this time of civil, economic, and social unrest, artists transmitted political ideas and propaganda through a wide range of media, including paintings and sculptures, but also journals, prints, textiles, postcards, and other objects that would have been widely collected, experienced, or encountered. Insightful essays discuss but go beyond the era’s best-known creators, such as Thomas Hart Benton, Walker Evans, Marsden Hartley, and Georgia O’Keeffe, to highlight artists who have received little scholarly attention, including women and artists of color as well as designers and illustrators. Emphasizing the contributions of the Black Popular Front and Leftist movements while acknowledging competing visions of the country through the lenses of race, gender, and class, Art for the Millions is a timely look at art in the United States made by and for its people. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Metropolitan Museum of Art, New York (September 6–December 10, 2023)

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Animal rights activists today regularly use visual imagery in their efforts to shape the public’s understanding of what it means to be “kind,” “cruel,” and “inhumane” toward animals. Art for Animals explores the early history of this form of advocacy through the images and the people who harnessed their power.Following in the footsteps of earlier-formed organizations like the RSPCA and ASPCA, animal advocacy groups such as the Victoria Street Society for the Protection of Animals from Vivisection made significant use of visual art in literature and campaign materials. But, enabled by new and improved technologies and techniques, they took the imagery much further than their predecessors did, turning toward vivid, pointed, and at times graphic depictions of human-animal interactions. Keri Cronin explains why the activist community embraced this approach, details how the use of such tools played a critical role in educational and reform movements in the United States, Canada, and England, and traces their impact in public and private spaces. Far from being peripheral illustrations of points articulated in written texts or argued in impassioned speeches, these photographs, prints, paintings, exhibitions, “magic lantern” slides, and films were key components of animal advocacy at the time, both educating the general public and creating a sense of shared identity among the reformers.Uniquely focused on imagery from the early days of the animal rights movement and filled with striking visuals, Art for Animals sheds new light on the history and development of modern animal advocacy.

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In the 150 years since the birth of the petroleum industry oil has saturated our culture, fueling our cars and wars, our economy and policies. But just as thoroughly, culture saturates oil. So what exactly is “oil culture”? This book pursues an answer through petrocapitalism’s history in literature, film, fine art, wartime propaganda, and museum displays. Investigating cultural discourses that have taken shape around oil, these essays compose the first sustained attempt to understand how petroleum has suffused the Western imagination. The contributors to this volume examine the oil culture nexus, beginning with the whale oil culture it replaced and analyzing literature and films such as Giant, Sundown, Bernardo Bertolucci’s La Via del Petrolio, and Ben Okri’s “What the Tapster Saw”; corporate art, museum installations, and contemporary photography; and in apocalyptic visions of environmental disaster and science fiction. By considering oil as both a natural resource and a trope, the authors show how oil’s dominance is part of culture rather than an economic or physical necessity. Oil Culture sees beyond oil capitalism to alternative modes of energy production and consumption. Contributors: Georgiana Banita, U of Bamberg; Frederick Buell, Queens College; Gerry Canavan, Marquette U; Melanie Doherty, Wesleyan College; Sarah Frohardt-Lane, Ripon College, Matthew T. Huber, Syracuse U; Dolly Jørgensen, Umeå U; Stephanie LeMenager, U of Oregon; Hanna Musiol, Northeastern U; Chad H. Parker, U of Louisiana at Lafayette; Ruth Salvaggio, U of North Carolina, Chapel Hill; Heidi Scott, Florida International U; Imre Szeman, U of Alberta; Michael Watts, U of California, Berkeley; Jennifer Wenzel, Columbia University; Sheena Wilson, U of Alberta; Rochelle Raineri Zuck, U of Minnesota Duluth; Catherine Zuromskis, U of New Mexico.

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The influence of gays and lesbians on language, literature, theater, poetry, dance, music, and the arts is unmeasurable. In the era before AIDS, gay and lesbian culture had a defining, if unrecognized, influence on American life, an influence that is only now being acknowledged. This reissue of the classic anthology, Lavender Culture, serves as a provocative, dynamic, and wide-ranging reminder of American gay and lesbian culture in the days before the status of gay people received widespread attention in the media, religion, and politics, before Newsweek saw it fit to feature a cover story on LESBIANS, and before gays and lesbians took center stage in America's cultural landscape. Here we find the young, assertive voices of such activists, authors, and artists as Rita Mae Brown, Barbara Grier, John Stoltenberg, Julia Penelope, Andrea Dworkin, Andrew Kopkind, Jane Rule, Arthur Bell, Charlotte Bunche, and dozens more. Including essays on such diverse subjects as gay bath houses, the gay male image in classical ballet, images of gays in rock music, Judy Garland, lesbian humor, sports and machismo, the growing business of women's music, and the Cleveland bar scene in the 1940s, Lavender Culture, with new introductory essays by the editors and Cindy Patton, offers a panoply of gay and lesbian life, tracing the current influence and visibility of gay and lesbian culture back to its origins.

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A curated guide to the best of London’s museums and galleries. From the obscure to the resplendent, Eleanor Ross acquaints you with the very best museums and galleries the city has to offer. Including world-famous art to quirky collections, London is host to a vast assortment of enlightening spaces just waiting to be explored. ​This compact and portable little book introduces locals and tourists alike to the capital’s cultural hot spots.

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How did the Victorians engage with the ancient world? Victorian Culture and Classical Antiquity is a brilliant exploration of how the ancient worlds of Greece and Rome influenced Victorian culture. Through Victorian art, opera, and novels, Simon Goldhill examines how sexuality and desire, the politics of culture, and the role of religion in society were considered and debated through the Victorian obsession with antiquity. Looking at Victorian art, Goldhill demonstrates how desire and sexuality, particularly anxieties about male desire, were represented and communicated through classical imagery. Probing into operas of the period, Goldhill addresses ideas of citizenship, nationalism, and cultural politics. And through fiction--specifically nineteenth-century novels about the Roman Empire--he discusses religion and the fierce battles over the church as Christianity began to lose dominance over the progressive stance of Victorian science and investigation. Rediscovering some great forgotten works and reframing some more familiar ones, the book offers extraordinary insights into how the Victorian sense of antiquity and our sense of the Victorians came into being. With a wide range of examples and stories, Victorian Culture and Classical Antiquity demonstrates how interest in the classical past shaped nineteenth-century self-expression, giving antiquity a unique place in Victorian culture.

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The 2021 Capitol Hill Riot marked a watershed moment when the ‘old world’ of factbased systems of representation was briefly overwhelmed by the emerging hyper-individual politics of aestheticized emotion. In The Trump Effect in Contemporary Art and Visual Culture, Kit Messham-Muir and Uroš Cvoro analyse the aesthetics that have emerged at the core of 21st-century politics, and which erupted at the US Capitol in January 2021. Looking at this event’s aesthetic dimensions through such aspects as QAnon, white resentment and strongman authoritarianism, they examine the world-wide historical trends towards ethno-nationalism and populism that emerged following the end of the Cold War in 1989 and the dawning of the current post-ideological age. Building on their ground-breaking research into how trauma, emotion and empathy have become well-worn tropes in contemporary art informed by conflict, Messham-Muir and Cvoro go further by highlighting the ways in which art can actively disrupt an underlying drift in society towards white supremacism and ultranationalism. Utilising their outsiders’ perspective on a so-called American phenomenon, and rejecting American exceptionalism, their theorising of the ‘Trump Effect' rejects the idea of Trump as a political aberration, but as a symptom of deeper and longer-term philosophical shifts in global politics and society. As theorists of contemporary art and visual culture, Messham-Muir and Cvoro explore the ways in which these features of the Trump Effect operate through aesthetics, in the intersection of politics and contemporary art, and provide valuable insight into the current political context.

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This accessible introduction to the exciting field of contemporary Spanish visual culture is the first of its kind. It combines cultural context with close readings of particular works. Going beyond the field of cinema, in which Spain is an acknowledged leader, Smith examines new developments in television, where original and innovative series drama has recently blossomed. He also explores Spanish fashion, where 'classic' design is married to high tech production and distribution. Two aspects of Spanish visual art are considered: the career of Miquel Barceló, global artist and pure painter, and Basque conceptual art which, through photography and installation, puts a new spin on international questions of gender and sexuality. Finally, Contemporary Spanish Culture examines Catalan independent cinema and the most recent work of Spain's best known director, Pedro Almodóvar, who has resurrected a genre long considered dead: the art movie. This innovative new book provides an ideal introduction for undergraduates and will be essential reading for those working in Hispanic studies, cultural studies, and film.

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Since the dawn of time, magic is the node around which all human activities and culture revolve. As magic entered the development of science, art, philosophy, religion, myth, and psychology, it still retained its essence: that we have a dynamic connection with all other forms of life.Exploring the source magic that flows beneath the surface of culture and occulture throughout the ages, Carl Abrahamsson offers a “magical-anthropological” journey from ancient Norse shamanism to the modern magick of occultists like Genesis P-Orridge. He looks at how human beings relate to and are naturally attracted to magic. He examines in depth the consequences of magical practice and how the attraction to magic can be corrupted by both religious organizations and occult societies. He shows how the positive effects of magic are instinctively grasped by children, who view the world as magical.The author looks at magic and occulture as they relate to psychedelics, Witchcraft, shamanism, Thee Temple ov Psychick Youth (TOPY), the panic rituals of the Master Musicians of Joujouka in Morocco, psychological individuation processes, literary “magical realism,” and the cut-up technique of Beat icons like William S. Burroughs and Brion Gysin. He explores the similarities in psychology between poet Ezra Pound and magician Austin Osman Spare. He looks at the Scandinavian Fenris Wolf as a mythic force and how personal pilgrimages can greatly enrich our lives. He also examines the philosophy of German author Ernst Jünger, the magical techniques of British filmmaker Derek Jarman, and the quintessential importance of accepting our own mortality.

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A groundbreaking, award-winning analysis of colour in Western culture, from the ancient Greeks to the late twentieth century by one of the most foremost authors on the subject. What does the language of colour tell us? Where does one colour begin and another end? Is it a radiant visual stimulus, an intangible function of light, or a material substance to be moulded and arrayed? Colour is fundamental to art, yet so diverse that it has hardly ever been studied in a comprehensive way. Art historian John Gage considers every conceivable aspect of the subject in this groundbreaking analysis of colour in Western culture, from the ancient Greeks to the late twentieth century. Gage describes the first theories of colour, articulated by Greek philosophers, and subsequent attempts by the Romans and their Renaissance disciples to organize it systematically or endow it with symbolic power. He unfolds its religious significance and its use in heraldry, as well as how Renaissance artists app

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Suffrage and the Arts re-establishes the central role that artistic women and men—from jewellers, portrait painters, embroiderers, through to retailers of ‘artistic’ products—played in the suffrage campaign in the British Isles. As political individuals, they were foot soldiers who helped sustain the momentum of the movement and as designers, makers and sellers they spread the message of the campaign to new local, national and international audiences, mediating how suffrage activism was understood by society at large. This edited collection offers a range of new perspectives and readings of the outpouring of creative responses to the campaign. Contributors, who include historians, art historians, curators, museum professionals and suffrage experts, call upon the historiographical developments of the last thirty years, alongside new archival discoveries, to showcase the vibrancy of ongoing research in this area. Throughout, chapters investigate the wider socio-cultural backdrop to suffrage and the women’s movement, the difficult choices that were made between professional, artistic aspirations and political commitment, and how institutional and informal networks influenced creative expression and participation in feminist politics. From shining light on the use of portraiture to bolster the cultural cachet of the militant Women’s Social and Political Union, uncovering the links between Victorian interior design, enterprise and suffrage, through to questioning the supposed conservativism of women’s art institutions during the campaign and in the inter-war era, Suffrage and the Arts is a timely and important collection which will contribute to a number of scholarly fields.

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An illuminating account of the importance of public investment in arts and culture.

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Suffrage and the Arts re-establishes the central role that artistic women and men—from jewellers, portrait painters, embroiderers, through to retailers of ‘artistic’ products—played in the suffrage campaign in the British Isles. As political individuals, they were foot soldiers who helped sustain the momentum of the movement and as designers, makers and sellers they spread the message of the campaign to new local, national and international audiences, mediating how suffrage activism was understood by society at large. Published to coincide with the centenary of the 1918 Representation of the People Act, which granted the vote to women over the age of thirty meeting a property qualification, this edited collection offers a range of new perspectives and readings of the outpouring of creative responses to the campaign. Contributors, who include historians, art historians, curators, museum professionals and suffrage experts, call upon the historiographical developments of the last thirty years, alongside new archival discoveries, to showcase the vibrancy of ongoing research in this area. Throughout, chapters investigate the wider socio-cultural backdrop to suffrage and the women’s movement, the difficult choices that were made between professional, artistic aspirations and political commitment, and how institutional and informal networks influenced creative expression and participation in feminist politics. From shining light on the use of portraiture to bolster the cultural cachet of the militant Women’s Social and Political Union, uncovering the links between Victorian interior design, enterprise and suffrage, through to questioning the supposed conservativism of women’s art institutions during the campaign and in the inter-war era, Suffrage and the Arts is a timely and important collection which will contribute to a number of scholarly fields.

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Originally published in 1989, this ground-breaking ethnographic exploration of tattooing-and the art world surrounding it-covers the history, anthropology and sociology of body modification practices; the occupational experience of the tattooist; the process and social consequences of becoming a tattooed person; and the prospects of \u0022serious\u0022 tattooing becoming an accepted art form. Curiously, despite the greater prevalence of tattoos and body modification in today\u2019s society, there is still a stigma of deviance associated with people who get or ink tattoos. Retaining the core of the original book, this revised and expanded edition offers a new preface by the author and a new chapter focusing on the changes that have occurred in the tattoo world. A section on the new scholarly literature that has emerged, as well as the new modes of body modification that have come into vogue are included along with a new gallery of photographs that shows some splendid examples of contemporary tattoo art. A directory of artists' websites invites readers to discover the range of work being done around the world-from \u201csuits\u201d (full body tattoos) to skulls.

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In this first general theory for the analysis of popular literary formulas, John G. Cawelti reveals the artistry that underlies the best in formulaic literature. Cawelti discusses such seemingly diverse works as Mario Puzo's The Godfather, Dorothy Sayers's The Nine Tailors, and Owen Wister's The Virginian in the light of his hypotheses about the cultural function of formula literature. He describes the most important artistic characteristics of popular formula stories and the differences between this literature and that commonly labeled "high" or "serious" literature. He also defines the archetypal patterns of adventure, mystery, romance, melodrama, and fantasy, and offers a tentative account of their basis in human psychology.

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A raw collection of photos and stories spotlighting the artistic process and dangerous adventures of a Chicago graffiti artist as he creates unsponsored works of art around the world More than 350 photographs combine with previously untold firsthand stories to offer readers a rarely seen look into graffiti art and street culture, a subculture that has grown seemingly without boundaries. Vibrant, urgent prose takes readers into the emotions and physical experience of bringing street art into existence, capturing the moments of creation as well as the camaraderie of souls bound by these acts of expression. • Each story is a real-life mini action adventure following FLEX | KYM’s trajectory from local artist to world traveler to incarcerated individual to creator with reignited passion • Underpinning the story of the art is that of Chicago and its growth into a city internationally recognized for live-action urban painting • As the art ignites a path to form global networks, the journey takes readers to New York, New Jersey, Cleveland, Philadelphia, Boston, Vienna, Warsaw, Prague, Bratislava, Catania, Hamburg, Amsterdam, Lisbon, Stockholm, Bangkok, Barcelona, Istanbul, Athens, and Berlin • Features images of art by FLEX, ARK, FACT, SKOL, DTEK, SPIN, HEAR, NYKE, and other graffiti artists from Chicago and beyond This visceral look at the artistic process takes readers deep inside the world of graffiti art—a subculture that is now more celebrated than ever.

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The Culture Factory: Architecture and the Contemporary Art Museum explores the key battlegrounds in the design of the contemporary-art museum, describing the intersection of art, aesthetics and politics at the highest levels, and the commitment of states, cities and wealthy individuals to the display of art. Global in scope, the book examines key examples from Europe and the Americas to contemporary China. It describes museum building as the projection of political power, but also as a desire to acquire power. So it is a book about ambitious peripheries as much as the traditional centres: Dundee and Bilbao as well as New York and Paris. It is commonplace to assume that the contemporary-art museum has become ever more spectacular, and the place of art ever more subservient within it. This book argues that a tendency to spectacle coexists with another equally powerful tendency, to make art museums that celebrate the artistic process, typically attempting to recreate the feeling of the artist's studio. That tendency is strongly represented in the designs for the Centre Georges Pompidou, completed in 1977, and arguably in the many contemporary art museums which have adapted former industrial buildings. Richard J. Williams's stimulating text includes many historical examples to illustrate how we got to where we are now, from the Centre Pompidou in Paris, to the Guggenheim museums in New York and Bilbao, London’s Tate Modern, Oscar Niemeyer's work in Brazil and beyond, and the 798 Art District in Beijing.

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Shine allures and awakens desire. As a phenomenon of perception shiny things and materials fascinate and tantalize. They are a formative element of material culture, promising luxury, social distinction and the hope of limitless experience and excess. Since the early twentieth century the mass production, dissemination and popularization of synthetic materials that produce heretofore-unknown effects of shine have increased. At the same time, shine is subjectified as “glamor” and made into a token of performative self-empowerment. The volume illuminates genealogical as well as systematic relationships between material phenomena of shine and cultural-philosophical concepts of appearance, illusion, distraction and glare in bringing together renowned scholars from various disciplines.

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Protest has become an everyday part of modern societies, one of the few recognized outlets for voicing and discussing basic moral commitments. Protest movements shape our thinking about social change and human agency. At a time when schools, the media, and even religious institutions offer little guidance for our moral judgments, protest movements have become a central source for providing us with ethical visions and creative ideas. In this book, James Jasper integrates diverse examples of protest, from 19th-century boycotts to recent anti-nuclear, animal-rights, and environmental movements, into an understanding of how social movements operate. He highlights their creativity, not only in forging new morals but in adopting courses of action and inventing organizational forms. The work stresses the role of individuals, both as lone protesters and as key decision-makers, and it emphasizes the open-ended nature of strategic choices as protesters, their opponents, their allies, and the government respond to each other's actions. The book also synthesizes the many concepts developed in recent years as part of the cultural approach to social movements, placing them in context and showing what they mean for other scholarly traditions. Drawing on lengthy interviews, historical materials, surveys, and his own participation in protests, Jasper offers a systematic overview of the field of social movements. He weaves together accounts of large-scale movements with individual biographies, placing the movements in cultural perspective and focusing on individuals' experiences.

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Color Scheme explores an alternative way of seeing through gridded systems of colors, or palettes," to take readers on a visual journey through art history and pop culture. From the various shades of pink used by artists to describe the blush of Madame de Pompadour's cheeks to Helen Frankenthaler's orange color fields to Prince's concert costumes, Color Scheme is a collection of Young's palettes that reveal new ways of thinking about larger arcs in visual culture. Pinpointing revealing and humorous themes throughout artists' careers or periods of time, this book would be an excellent gift for yourself, your aesthetically-minded friend, or anyone who loves a good color scheme."

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Social scientists seek to develop systematic ways to understand how people make meaning and how the meanings they make shape them and the world in which they live. But how do we measure such processes? Measuring Culture is an essential point of entry for both those new to the field and those who are deeply immersed in the measurement of meaning. Written collectively by a team of leading qualitative and quantitative sociologists of culture, the book considers three common subjects of measurement—people, objects, and relationships—and then discusses how to pivot effectively between subjects and methods. Measuring Culture takes the reader on a tour of the state of the art in measuring meaning, from discussions of neuroscience to computational social science. It provides both the definitive introduction to the sociological literature on culture as well as a critical set of case studies for methods courses across the social sciences.

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The Banff School opened its doors in 1933 by offering a summer drama course. Since then, it has grown into a renowned cultural destination, today known as the Banff Centre for Arts and Creativity.As PearlAnn Reichwein and Karen Wall recount in this engaging history, over its first four decades the school produced and circulated ideals of culture and liberal democratic citizenship that were intrinsic to the development of modern Canada. Uplift traces the role of the school in shaping arts and cultural education, as reflected in its array of artistic, political, economic, and ideological interests. Situated within Banff National Park, the school and its surroundings combined stunning natural scenery and cultural capital in a symbolic national landscape.In an era of unstable cultural policy and funding, Uplift draws welcome attention to the place of fine arts, culture, and the humanities in public education and in Canada’s history.

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One of our most brilliant minds offers a sweeping intellectual history that argues for the reclamation of culture’s value Culture is a defining aspect of what it means to be human. Defining culture and pinpointing its role in our lives is not, however, so straightforward. Terry Eagleton, one of our foremost literary and cultural critics, is uniquely poised to take on the challenge. In this keenly analytical and acerbically funny book, he explores how culture and our conceptualizations of it have evolved over the last two centuries—from rarified sphere to humble practices, and from a bulwark against industrialism’s encroaches to present-day capitalism’s most profitable export. Ranging over art and literature as well as philosophy and anthropology, and major but somewhat "unfashionable" thinkers like Johann Gottfried Herder and Edmund Burke as well as T. S. Eliot, Matthew Arnold, Raymond Williams, and Oscar Wilde, Eagleton provides a cogent overview of culture set firmly in its historical and theoretical contexts, illuminating its collusion with colonialism, nationalism, the decline of religion, and the rise of and rule over the "uncultured" masses. Eagleton also examines culture today, lambasting the commodification and co-option of a force that, properly understood, is a vital means for us to cultivate and enrich our social lives, and can even provide the impetus to transform civil society.

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Together, the Royal Museum for Central Africa in Tervuren, Belgium, and the Institut des Musées Nationaux du Zaire (IMNZ) in the Congo have defined and marketed Congolese art and culture. In Authentically African, Sarah Van Beurden traces the relationship between the possession, definition, and display of art and the construction of cultural authenticity and political legitimacy from the late colonial until the postcolonial era. Her study of the interconnected histories of these two institutions is the first history of an art museum in Africa, and the only work of its kind in English. Drawing on Flemish-language sources other scholars have been unable to access, Van Beurden illuminates the politics of museum collections, showing how the IMNZ became a showpiece in Mobutu’s effort to revive “authentic” African culture. She reconstructs debates between Belgian and Congolese museum professionals, revealing how the dynamics of decolonization played out in the fields of the museum and international heritage conservation. Finally, she casts light on the art market, showing how the traveling displays put on by the IMNZ helped intensify collectors’ interest and generate an international market for Congolese art. The book contributes to the fields of history, art history, museum studies, and anthropology and challenges existing narratives of Congo’s decolonization. It tells a new history of decolonization as a struggle over cultural categories, the possession of cultural heritage, and the right to define and represent cultural identities.

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Together, the Royal Museum for Central Africa in Tervuren, Belgium, and the Institut des Musées Nationaux du Zaire (IMNZ) in the Congo have defined and marketed Congolese art and culture. In Authentically African, Sarah Van Beurden traces the relationship between the possession, definition, and display of art and the construction of cultural authenticity and political legitimacy from the late colonial until the postcolonial era. Her study of the interconnected histories of these two institutions is the first history of an art museum in Africa, and the only work of its kind in English. Drawing on Flemish-language sources other scholars have been unable to access, Van Beurden illuminates the politics of museum collections, showing how the IMNZ became a showpiece in Mobutu’s effort to revive “authentic” African culture. She reconstructs debates between Belgian and Congolese museum professionals, revealing how the dynamics of decolonization played out in the fields of the museum and international heritage conservation. Finally, she casts light on the art market, showing how the traveling displays put on by the IMNZ helped intensify collectors’ interest and generate an international market for Congolese art. The book contributes to the fields of history, art history, museum studies, and anthropology and challenges existing narratives of Congo’s decolonization. It tells a new history of decolonization as a struggle over cultural categories, the possession of cultural heritage, and the right to define and represent cultural identities.

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**Winner of the American Horticultural Society Book Award**Japanese gardens are rooted in two traditions: an ancient one in which patches of graveled forest or pebbled beach were dedicated to nature spirits, and a tradition from China and Korea that included elements such as ponds, streams, waterfalls, rock compositions, and a variety of vegetation. This book traces the development and blending of these two traditions, while also providing insight into modern Japanese gardening trends. The Art of the Japanese Garden is a comprehensive collection of the most notable gardens in Japan—including graveled courtyards, early aristocratic villas, palace gardens, esoteric and paradise gardens, Zen gardens, warrior gardens, tea gardens, and stroll gardens. With an impressive amount of new content, including more than 30 images, this updated edition offers inspiring ideas for your own trip to Japan. If you're just dreaming of traveling to Japan, there is also a section on Japanese gardens in other countries—get a taste of Japanese culture and tradition closer to home. Japanese gardening has reached new heights of sophistication, and serves as garden design and landscaping inspiration all over the world. The Art of the Japanese Garden introduces readers to the history, culture, and design behind these large-scale works of art.

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