Visual Culture in Britain最新文献

{"title":"Graphic Satire and the UK in the Long Nineteenth Century","authors":"F. Cullen, Richard A. Gaunt","doi":"10.1080/14714787.2019.1615379","DOIUrl":"https://doi.org/10.1080/14714787.2019.1615379","url":null,"abstract":"This special issue of Visual Culture in Britain contains five articles that examine the role of the transnational in the production of political satires. The articles range from early-nineteenth-century America to Ireland, Germany and Australia. Within the last generation, scholars have begun to take graphic art more seriously than ever before. Building on a proud tradition of scholarship dating from the work of Ernst Gombrich, and using the vast corpus of material assembled in the British Museum’s catalogue of personal and political satires by Frederic Stephens and Dorothy George, scholars such as Diana Donald, Ronald Patten, Eirwen Nicholson, Amelia Rauser, Mark Hallett and Todd Porterfield have begun to interrogate, more seriously, the visual language of this genre in the eighteenth and nineteenth centuries. Brian Maidment has extended this work, contributing important commentaries on reading comic images as well as popular prints, a contribution to scholarship which he continued most memorably in his plenary talk to the symposium that heralded this special issue of Visual Culture in Britain. Nonetheless, in spite of this formidable array of scholarship, there is still a perception that graphic art is not taken as seriously as other visual art productions, such as painting, drawing, film and sculpture. Why graphic art does not enjoy a more significant role in the academic canon is one motivation behind this special issue of Visual Culture in Britain. Another is the paucity of literature on transnational aspects of the British graphic tradition. British graphic art did not exist in a vacuum – it was influenced by developments in, and practitioners from, a wide range of contexts. This collection of articles, which derives from the one-day symposium on graphic satire and the United Kingdom in the long nineteenth century, held at the University of Nottingham in September 2017, seeks to interrogate the nature of the United Kingdom’s status as a global power in the long nineteenth century by considering the varied ways in which it was viewed, and represented, in graphic satire during the period. The five articles that follow discuss how graphic satire illuminated the relationship not only between Britain and other imperial colonies, such as Ireland and Australia, but also with powers such as the USA and Germany. A running connection between them is the sustained transnational influence of the British graphic satirical tradition throughout the nineteenth century. That influence is examined for good or ill in a number of case studies that consider such issues as the reception of imagery, the widening","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"20 1","pages":"104 - 99"},"PeriodicalIF":0.0,"publicationDate":"2019-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2019.1615379","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60250446","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":"An Alien in Wexford: Harry Furniss, Punch, and Zozimus (The ‘Irish Punch’)","authors":"E. Mark-Fitzgerald","doi":"10.1080/14714787.2019.1615381","DOIUrl":"https://doi.org/10.1080/14714787.2019.1615381","url":null,"abstract":"Born in Ireland, Harry Furniss (1854–1925) was one of the most prolific satirists of the nineteenth century, best known for producing over two thousand illustrations for Punch. Although Furniss frequently sought to distinguish himself from his Irish origins, they proved a constant source of inspiration for his satirical productions in print (and later on stage), as he capitalized on a shifting position as both ‘insider’ and ‘outsider’ to Irish politics and society. This article explores Furniss’ formative years working for Zozimus, a short-lived (and mostly forgotten) illustrated periodical known as ‘The Irish Punch’, revealing both the publication’s domestic significance, and the influence of Irish affairs on Furniss’ long career.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"20 1","pages":"135 - 151"},"PeriodicalIF":0.0,"publicationDate":"2019-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2019.1615381","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45369025","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":"The Impact of the Talkies on Scottish Cinema Architecture","authors":"Bruce Peter","doi":"10.1080/14714787.2019.1686415","DOIUrl":"https://doi.org/10.1080/14714787.2019.1686415","url":null,"abstract":"The consequences of the introduction of sound for the architecture of cinema buildings is considered with a focus upon examples in Scotland completed in the 1929–30 period. The influence of the building acoustics pioneer, Hope Bagenal, in the design of the New Victoria cinema in London and its consequences for subsequent cinemas in Scotland, designed by Alister G. MacDonald (1898–1993), David Stokes (1908–90) and James McKissack (1875–1940) is explained and contextualized. Their clean-lined and fashionable styling was not only more easily adapted for good sound reproduction but also signified that cinema as a medium was entering a new phase.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"20 1","pages":"202 - 220"},"PeriodicalIF":0.0,"publicationDate":"2019-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2019.1686415","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42056807","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":"‘Beautiful World, Where Are You?’ The Tenth Liverpool Biennial, July 14–October 28 2018","authors":"David K. Campbell, Mark Durden","doi":"10.1080/14714787.2019.1570057","DOIUrl":"https://doi.org/10.1080/14714787.2019.1570057","url":null,"abstract":"‘Beautiful world, where are you?’ – this question provides the title and prompt for the tenth edition of Liverpool’s Biennial and is reflected in the way in which the international array of over forty artists from twenty-two countries on show throughout the city are caught between art as a song of sorrow and lament for lost ideals or a redemptive and socially useful aesthetic form. On one hand, elegy: Reeta Sattar’s film Harano Sur, in which many performers each play one of the seven notes of the harmonium, a traditional musical instrument now under threat from Islamic law in Bangladesh, or Abbas Akhavan’s monumental soil sculpture of the fragment of an ancient Assyrian sculpture, destroyed by ISIS. On the other, the hopeful glimmers of educational and environmental improvement: the social ‘gift’ of new seats surrounding the Catholic cathedral, designed by schoolchildren under the tutelage of Ryan Gander – forms that also offered other unwanted uses by skateboarders and BMX riders – or the uplifting idealism of Mohammed Bourouissa’s Resiliance Garden, in partnership with Liverpool’s Kingsley Community school, modelled on one planted for therapy in Algeria by a patient of the psychoanalyst and writer, Frantz Fanon. For this Biennial the director Sally Tallant has invited Kitty Scott (Carol and Morton Rapp Curator, Modern and Contemporary Art at the Art Gallery of Ontario) to co-curate. Film dominates, as does the familiar shopping list of worthy issues contemporary artists are said to be now addressing, identified by Tallant in interview with Scott as ‘inequality, conservation, extinction, resource extraction, Indigeneity [sic] and postcolonialism’. The colonial legacy of Liverpool is drawn out in some of the city’s cultural treasures that we are invited to reflect upon through the Biennial’s adjunct curatorial selections made from the civic collections and architecture, forming part of ‘Worlds within Worlds’. The Biennial presents a new artistic commission, the first in the UK, for the nonagenarian film-maker Agnès Varda. Her short three-channel video projection at the Foundation for Art and Creative Technology (FACT) – combining bursts of sound with slowed-down fragments of two of her past films and including footage shot unawares when she left her camera running, showing the lens cover dancing over the ground – seems motivated by depleting film of meaning and legibility, of film reduced to aesthetic form. Varda’s move to art is not without its problems and runs against the domination of the Biennial by an overdetermined content-driven practice. Small paintings by Francis Alÿs are dependent on the frisson between the identification of the locations in which they were purportedly made and the way they are made. These unassuming postcard-size paintings, produced","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"20 1","pages":"94 - 97"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2019.1570057","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43719460","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":"Hip-Hop into the Video Age: New York Teenhood, Malcolm McLaren and the British Eye","authors":"James McNally","doi":"10.1080/14714787.2019.1574602","DOIUrl":"https://doi.org/10.1080/14714787.2019.1574602","url":null,"abstract":"In the 1980s, the popularizing of domestic video technology coincided with a boom in British youth television and music videos of New York hip-hop’s visual world. These provided crucial pre-conditions for hip-hop’s London explosion. This article analyses these historical media shifts, the early evolution of rap’s imagery and testimony from early London hip-hoppers to examine how music video’s dynamic multimedia visuality opened up both hip-hop’s fashion ‘code language of status’ and new bodily velocities, enabling hip-hop’s transference from New York to London as a multifaceted youth movement. It considers the role of Malcolm McLaren and the World’s Famous Supreme Team’s video ‘Buffalo Gals’.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"20 1","pages":"40 - 63"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2019.1574602","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47979761","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":"A Complex Art of Logistics","authors":"S. Frost","doi":"10.1080/14714787.2019.1576538","DOIUrl":"https://doi.org/10.1080/14714787.2019.1576538","url":null,"abstract":"This article considers the nature of creative work in UK art institutions through the analysis of three distinctive artistic projects: the 1951 Festival of Britain, Artist Placement Group (APG) (1966 – c. 1980) and the Arts and Crafts Movement (c. 1860–1900). Within each example, I first offer a critical reading of their recent appropriation, thus demonstrating the limits of the cultural institutions in which they are enlisted. Second, I consider which aspects have been undervalued in these revivals. In each instance, the combination of these two readings provides provocative possibilities for reviewing current understandings of creative work and collaboration in the public cultural institution.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"20 1","pages":"15 - 39"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2019.1576538","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47454045","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":"‘Visibility’: A Materialist Study of Images","authors":"Yi Chen","doi":"10.1080/14714787.2019.1574601","DOIUrl":"https://doi.org/10.1080/14714787.2019.1574601","url":null,"abstract":"This article examines methodological discussions around existing approaches to visual analysis. In light of emerging cultural theories that conceive affective forces as materialities, it suggests images are forms of cultural materialities. The article features art criticism, cultural theories and philosophical discussions that exemplify a materialist understanding of visual analysis. Finally, I claim that a materialist study of images and the recuperation of their ontological status offer a potent lens for bridging a range of Humanities disciplines within which visual analyses are central (visual culture, art history, cultural studies).","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"20 1","pages":"1 - 14"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2019.1574601","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46241942","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":"William Gladstone, Collector and Collectable: Objects, Networks and Symbols of Liberalism","authors":"Barbara Pezzini","doi":"10.1080/14714787.2019.1573645","DOIUrl":"https://doi.org/10.1080/14714787.2019.1573645","url":null,"abstract":"Victorian politician and four-times Prime Minister, William Ewart Gladstone (1809–98) was active as a private and public collector, but his image was also the object of collecting. This article explores Gladstone as both subject and object of collecting, testing Bruno Latour’s Actor-network theory to explore the push and pull between the person and the objects, the person in object form, and the historical and social networks that this interaction generated. John Everett Millais’s 1879 portrait of Gladstone (National Portrait Gallery, London) and its reproductions in print are used as a distinctive case study of one such network.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"20 1","pages":"64 - 89"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2019.1573645","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42128703","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":"Aftermath: Art in the Wake of World War One","authors":"Thomas Bromwell","doi":"10.1080/14714787.2019.1570058","DOIUrl":"https://doi.org/10.1080/14714787.2019.1570058","url":null,"abstract":"‘Aftermath’ is a potent exhibition that reminds us why the lessons of war should never be set aside just for remembrance and commemoration at convenient anniversaries. The exhibition is Tate’s contribution to the centenary of the First World War and addresses the conflict through its repercussions. ‘Aftermath’ contextualizes British responses to the Great War with French and German compatriots, recognizing the importance of London, Paris and Berlin in interwar visual culture. Perhaps in order to concentrate its focus, the exhibition circumvents the questions of whether London can be equated to the other two cities, or can indeed be considered representative of British art and British responses to the conflict during the interwar period. Significant artworks by widely recognized names, including Stanley Spencer, Henry Moore, Picasso, and Max Beckmann are exhibited alongside lesser-known and unfamiliar works and artists. The result is an exhibition of breadth and diversity. RoomOne plunges us into mud, water, death, and debris. It is expected; however, the power of the imagery has not been diminished by familiarity, or the passing of time. Indeed, the curators have in some cases managed to make it even more powerful. The recurrent motif of the (often upturned) helmet, a symbol of death, is amplified by the presence of British, German, and French examples. We can only speculate on the fate of the individuals who had been issued the helmets, rusted and battered, that we are confronted by here. The impact and poignancy is undeniable, but where can you go from this? Jacob Epstein’s instantly recognizable Vorticist sculpture Torso in Metal from ‘The Rock Drill’ (1913–14) – a once-vital figure rendered impotent by Epstein’s own act of iconoclasm – stands with another broken figure in Wilhelm Lehmbruck’s Fallen Man (1915), who either crawls towards an unknown","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"20 1","pages":"90 - 93"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2019.1570058","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43483608","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":"An ‘Apostle of Futurity’: William Blake as Herald of a Universal Religious Worldview","authors":"Naomi Billingsley","doi":"10.1080/14714787.2018.1523685","DOIUrl":"https://doi.org/10.1080/14714787.2018.1523685","url":null,"abstract":"This article examines a strand of William Blake criticism from the second quarter of the twentieth century that styled his work as an embodiment of a universal religious worldview. In particular, it focuses on the writings of Max Plowman and John Middleton Murry from the mid 1920s to the early 1940s, for whom Blake’s works were portals into eternity and the future, and who celebrated Blake as prophet of a spiritual Weltanschauung for the modern age. The article examines similar principles in the work of British artists in this period, and is framed by exploring a parallel between the Blake of Plowman and Murry, and the use of painter-poet’s name for the Australian Blake Prize for religious art, inaugurated in 1950–51.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"19 1","pages":"321 - 334"},"PeriodicalIF":0.0,"publicationDate":"2018-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2018.1523685","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43408605","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}