Visual Culture in Britain最新文献

{"title":"Introduction: Queer Visual Historiographies","authors":"Reina Lewis, A. Stephenson","doi":"10.1080/14714787.2017.1307695","DOIUrl":"https://doi.org/10.1080/14714787.2017.1307695","url":null,"abstract":"This introduction 'Queer Historiographies' is for a special issue of Visual Culture in Britain, 2017, 18(1): pp.1-17, co-written and co-edited by Andrew Stephenson and Reina Lewis.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"18 1","pages":"1 - 17"},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2017.1307695","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60250224","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Early Twentieth-Century Vogue, George Wolfe Plank and The Freaks of Mayfair","authors":"D. Janes","doi":"10.1080/14714787.2017.1317017","DOIUrl":"https://doi.org/10.1080/14714787.2017.1317017","url":null,"abstract":"Vogue was one of the most influential fashion magazines of the twentieth century. In the 1920s its British edition, launched in 1916, became a focus for various forms of queer visual and cultural expression. The origins of the related ‘amusing style’, which delighted in camp display, can be traced to the romantic and artistic collaboration between the American artist George Wolfe Plank and the British writer E.F. Benson during the First World War. The illustrations that Plank produced for Benson’s book of satirical sketches of life in London’s high society, The Freaks of Mayfair (1916), shed light on the camp images that Plank designed for the covers of both the American and British editions of the magazine. Therefore, Plank can be understood to have played a key role in the development of queer visual culture during the early twentieth century.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"18 1","pages":"68 - 83"},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2017.1317017","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47368351","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Black Mirror 0 edited by Judith Noble, Dominic Shepherd and Robert Ansell","authors":"Louise S. Milne","doi":"10.1080/14714787.2017.1286448","DOIUrl":"https://doi.org/10.1080/14714787.2017.1286448","url":null,"abstract":"The Black Mirror Network, operating out of Bournemouth, aims to address works from the modernist era to the present, dealing with ‘magic, enchantment, the occult and the esoteric’. In the wake of the industrial revolution, these interests have indeed been omni-present in the arts and visual culture, especially in the British archipelago, home of La Belle Dame Sans Merci, the Pre-Raphaelites, Dracula, the Cottlesloe Fairies, Crowley, Dion Fortune, Tolkien, Sgt. Pepper, J.K Rowling and Alan Moore. And the idea that such concerns are central to modernist and contemporary art is not in itself novel. Esotericism was important in Dada and surrealism and has a strong legacy in current avant-garde and commercial art. Magic and the occult can be found at centre stage in the popular culture of pretty nearly any media or period. Black Mirror 0 is the first of a series, each volume organised by theme: embodiment, elsewhere, patterns, desire. This one is territory; meaning the range of (inter)disciplinary terrain(s) on which the authors mount their investigation. After the Introduction, there are seven pieces: three of art criticism/theory, one of art history, one of literary-cultural history, one by a magician, and an interview with artist Marie von Heyl. Justifying the remit for both series and volume, the Introduction overstates its case somewhat: esoteric content in modern art is not only marginalized but negated by critical culture – claims undermined by the editors’ own references and those in the following essays.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"18 1","pages":"121 - 124"},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2017.1286448","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48821436","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘Truth and Memory’, York Art Gallery, March 25–September 4, 2016","authors":"Dorothy Nott","doi":"10.1080/14714787.2017.1279405","DOIUrl":"https://doi.org/10.1080/14714787.2017.1279405","url":null,"abstract":"","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"18 1","pages":"125 - 128"},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2017.1279405","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45934554","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Francis Bacon and Queer Intimacy in Post-War London","authors":"Gregory Salter","doi":"10.1080/14714787.2017.1302817","DOIUrl":"https://doi.org/10.1080/14714787.2017.1302817","url":null,"abstract":"Francis Bacon’s paintings of the immediate post-war period in Britain include several works that take as their subject the spaces and experiences of queer intimacy, prior to the partial-decriminalization of homosexuality in 1967. These works inevitably stray across the spheres that queer men occupied at this time, from the domestic interior to public spaces such as bars and hotels. Through an analysis of Two Figures, 1953, and the ‘Man in Blue’ series, 1954, in their wider social and cultural contexts, this article argues that Bacon’s works present visions of a broad, fluid, anxious sense of queer home in post-war London.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"18 1","pages":"84 - 99"},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2017.1302817","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44238792","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Politics Personified: Portraiture, Caricature and Visual Culture in Britain, c. 1830–80 by Henry Miller","authors":"L. Perry","doi":"10.1080/14714787.2017.1279406","DOIUrl":"https://doi.org/10.1080/14714787.2017.1279406","url":null,"abstract":"On the face of it, this book would seem to have little to offer anyone but the dedicated nineteenth-century specialist. Focusing on the most prominent names of the remote world of the Victorian parliament – the likes of Lord Russell and Benjamin Disraeli, Lord Palmerston and W.E. Gladstone – Henry Miller’s book is firmly attached to the elements that structure traditional British political histories. But his book also offers something to the field of visual culture in its expansive and purposeful approach to the study of portraiture. Nineteenth-century portraiture is still most familiar either through its treatment as a fine art practice proper to the walls of the Royal Academy, all swagger and grand manner oil on canvas, or as the subject of the emergent technology of mass visual culture, the photograph. The production of portraits for circulation through the established technologies of reproduction (wood and steel engraving) are less integrated into the histories of nineteenth-century visual culture, and the caricature or political cartoon perhaps even less so (with the noble exception of the ever-fascinating repertoire of Punch magazine, indiscriminately plundered for historical light relief). One major vehicle for this kind of imagery was the periodical, and the study of periodicals in this period is well established as a sub-discipline of literary studies. But the links between different formats of visual production in the period are still not so well understood. Politics Personified offers a new perspective on the close relationships that existed between different arenas of visual production by tracing how they were connected through journalism and other forms of political publicity and campaigning. Miller’s study uses the portrait genre to study a range of images from the oil portrait to earthenware drinking vessels and everything in between. The book’s 40 illustrations do not represent anything like the scope of the material that it encompasses, which often includes portraits produced in series (photographs and engraved reproductions) or portraits of numerous individuals collected in other formats (group portraits). While it would have been interesting to see a fuller selection of images reproduced, it is not essential because the arguments only sometimes concern the actual appearance (rather than the circulation) of the portraits. In the important chapter ‘Disraeli, Gladstone and the personification of party, 1868–1880 ́, understanding the connotations of the portraits of the two sitters is essential, since the argument invites us to recognize how individual politicians became visually associated with the party they led through the mechanism of depictions of their personality, and vice versa. And in his chapter ‘Reforming pantheons: Political group portraiture and history painting’, which deals with large-scale multi-figure portrait","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"18 1","pages":"129 - 131"},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2017.1279406","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41993037","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"In The Flow by Boris Groys","authors":"Thibault Bennett","doi":"10.1080/14714787.2016.1228662","DOIUrl":"https://doi.org/10.1080/14714787.2016.1228662","url":null,"abstract":"Aside from quantifiable political, technological and social changes, how might we understand the differences between our cultural era and those of the past? Boris Groys posits our contemporary age as one whose chief interest is in its own contemporaneity. While the Renaissance was interested in reviving classical antiquity, and Modernity in breaking with the past while looking to the future, Postmodernity is left making sense of a globalized, pluralistic, heterogeneous present. Evidence of our navelgazing can be found in the proliferation of museums, galleries and art fairs dedicated to the exploration of what it means to be contemporary, each, in its own way, contributing to a zeitgeist whose essence eludes clear definition. In the Flow, like his previous titles Art Power and Under Suspicion, is a collection of essays penned by Groys over the past half-decade. The ideas succinctly flow into each other, analysing the intersections of technological progress, politics and culture. His view is expansive, as the writing comfortably assembles centuries of theory into what he calls a rheology of art: ‘discussion of art as flowing’. Currently the globally distinguished Professor of Russian and Slavic Studies at New York University and Senior Research Fellow at the Karlsruhe University of Arts and Design in Germany, as well as a curator and critic, Groys is identifiably one of the prominent art theorists of our time. His qualified depth of thinking is displayed convincingly in such essays as ‘Becoming Revolutionary: On Kazimir Malevich’, where he poses the question of whether the Russian avant-garde was a co-producer of the October Revolution of 1917. If yes, he asks, can it function as a model for contemporary art practices that aspire to political and social change? The essay concludes with the idea that being a revolutionary artist means to submit your self and work to this ‘universal material flow’ that destroys all temporary political and aesthetic orders. One must allow materialist product to become ‘infected’ by this infinite non-teleological process, as opposed to resisting it in a misguided goal for immediate social change. In linking the twentieth century of thought to the present day, Groys thrillingly glances off moments in history like a factually grounded Baudrillard crafting original, refreshing takes on a breadth of topics including the archive, modernism, activism, information technologies, globalism and mass media. Connecting the essays is this idea of flow, which appears like a strand running through the book. Depending on context, the word might address the liberation, destruction and reproducibility of information or conjure imagery of global capital networks or the circuitry of exchange between subjects and objects collectively, which make up a web of ideas","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"17 1","pages":"351 - 353"},"PeriodicalIF":0.0,"publicationDate":"2016-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2016.1228662","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60249653","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Aubrey Beardsley: A Catalogue Raisonné by Linda Gertner Zatlin","authors":"S. Shaw","doi":"10.1080/14714787.2016.1228641","DOIUrl":"https://doi.org/10.1080/14714787.2016.1228641","url":null,"abstract":"Weighing just over fourteen pounds across its two five-hundred page volumes – containing over a thousand illustrations – Linda Gertner Zatlin’s catalogue raisonné of Aubrey Beardsley must count, by size if nothing else, as one of the most significant books on turn-of-thetwentieth-century British visual culture published in recent years. The catalogue raisonné is not an especially common form in the field of modern British art; two of Beardsley’s more illustrious contemporaries – Walter Sickert and William Nicholson – have only received partial catalogues, both significantly smaller (and lighter) than Zatlin’s study. Francis Bacon has, of course, also just received the full catalogue treatment, with Martin Harrison’s five-volume, thirty-six-pound set published in June 2016. Bacon, however, had a career lasting several decades; whereas Beardsley – who died at the age of twenty-five – had a career lasting several months. In fact, Zatlin spent almost as many years working on this book as Beardsley spent living. This all serves as a firm reminder of Beardsley’s continuing popularity on the international stage. Which other artists from this period – sometimes referred to as the ‘Beardsley period’ – would merit such a lavish publication? Zatlin’s book, which contains as many as fifty previously unpublished images, is a sumptuously produced affair, almost breathtaking in its beauty (due credit must go here to the designer, Emily Lees). One of Beardsley’s strengths has always been that, even in a poorly reproduced image, he still looks pretty good. Zatlin has made special effort, however, to gather up the best images available, re-photographing many examples, and giving them plenty of space within the page. The images are backed up with well-researched and gracefully written supporting texts, supplying the usual exhaustive information regarding exhibition, provenances and literature, followed by a summary of the work’s salient features, and how these have been critically received over the years. Some of these texts amount to little more than a few lines, while others (such as those on the images produced for Oscar Wilde’s Salomé) stretch over several pages. Each section – the book is ordered according to major projects, as opposed to a strictly chronological progression – is introduced by a short essay, which puts the project in the context of the artist’s career and, to a slightly lesser extent, the wider art world. Beardsley’s swift progression from Kate Greenaway imitator to Edward Burne-Jones acolyte, from canny appropriator of Mantegna, Whistler, Japanese prints and Rococo design to original Art Nouveau master and (arguably) Art Deco prophet, is charted in no small detail. Reoccurring motifs in his art are also well-covered, from Pierrot to the ghoulish foetus, with a particular emphasis on flower symbolism and, of course, the ubiquitous sexual imagery. The shortened nature of Beardsley’s life means that we can follow his development on what is almos","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"17 1","pages":"358 - 361"},"PeriodicalIF":0.0,"publicationDate":"2016-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2016.1228641","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60249614","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Dividuum: Machinic Capitalism and Molecular Revolution by Gerald Raunig","authors":"B. Richards","doi":"10.1080/14714787.2016.1230356","DOIUrl":"https://doi.org/10.1080/14714787.2016.1230356","url":null,"abstract":"What is the intersection between the self and global politics, between the individual and the community they correlate with? This is the key question provoked by Gerald Raunig’s analysis Dividuum: ...","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"17 1","pages":"354 - 357"},"PeriodicalIF":0.0,"publicationDate":"2016-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2016.1230356","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60249859","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Postcards from the Apocalypse: Patrick Keiller’s London and the Legacies of Victorian Realism","authors":"Tanya Agathocleous","doi":"10.1080/14714787.2016.1255565","DOIUrl":"https://doi.org/10.1080/14714787.2016.1255565","url":null,"abstract":"This article examines the way Patrick Keiller’s ‘Robinson’ film trilogy – and in particular the film London – draws on forms, images, and ideas from Victorian literary and visual culture. Like many Victorian texts that focus on the British capital, Keiller’s London uses antithetical scales. The fragmentary perspective of the visual–verbal sketch tradition, exemplified by Charles Dickens’s Sketches by Boz, and the panoramic overview to which Victorian writers and artists aspired, are used in tandem to understand the details of everyday urban life in the context of global capitalism and to imagine a world outside it.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"17 1","pages":"251 - 269"},"PeriodicalIF":0.0,"publicationDate":"2016-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2016.1255565","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60250357","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}