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Artists Running: Fifty Years of Scottish Cultural Devolution 艺术家奔跑：苏格兰文化权力下放五十年
Visual Culture in Britain Pub Date : 2018-05-04 DOI: 10.1080/14714787.2018.1474131
Dan Brown, D. Jackson, N. Mulholland
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引用次数: 3
Prehistoric ‘Taskscapes’: Representing Gender, Age and the Geography of Work 史前“任务场景”：代表性别、年龄和工作地理
Visual Culture in Britain Pub Date : 2018-05-04 DOI: 10.1080/14714787.2018.1473048
P. Vujaković
{"title":"Prehistoric ‘Taskscapes’: Representing Gender, Age and the Geography of Work","authors":"P. Vujaković","doi":"10.1080/14714787.2018.1473048","DOIUrl":"https://doi.org/10.1080/14714787.2018.1473048","url":null,"abstract":"It is highly conceivable that prehistoric peoples richly narrated and celebrated their lives and relationship with their environment, but, with no written records available and limited artefacts, recent generations have created their own narratives of the lives of these peoples. This article examines visual representations of prehistoric (‘Stone Age’) societies in popular science published in Britain from 1960s to the present. Stereotyping of gender and division of labour, including its spatiality, is an obvious example of the projection of modern societies’ views onto the past and this is evident in the material examined in this study. Specific images often become ‘viral’ as uncritically repeated ‘schema’ (units of cultural transmission) that reinforce stereotypes; for example, the ‘cave woman’ as ‘drudge’, trapped in the domestic sphere. Such stereotypes remain prevalent in popular science books aimed at children as well as adults.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"19 1","pages":"255 - 278"},"PeriodicalIF":0.0,"publicationDate":"2018-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2018.1473048","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41983222","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}
引用次数: 2
Power Politics and the Representation of Poverty: The Nottingham Community Protection #Givesmart Campaign 权力政治与贫困的表现：诺丁汉社区保护#Givesmart运动
Visual Culture in Britain Pub Date : 2018-05-04 DOI: 10.1080/14714787.2018.1470027
K.d. Thornton
{"title":"Power Politics and the Representation of Poverty: The Nottingham Community Protection #Givesmart Campaign","authors":"K.d. Thornton","doi":"10.1080/14714787.2018.1470027","DOIUrl":"https://doi.org/10.1080/14714787.2018.1470027","url":null,"abstract":"In March 2016 Nottingham Community Protection launched its anti-begging Campaign #givesmart. It featured a series of posters which encouraged those coming into contact with beggars to #givesmart; and ‘giving smart’ meant not giving to those begging on the streets of the city. The immediate general response was to conflate the issue of begging and deviancy with homelessness, and subsequent debate focused on the negative representation of those experiencing poverty, even though Nottingham City Council denied that this had been the original remit of the campaign. After receiving complaints, the Advertising Standards Authority took onboard this (mis)reading of the images, banning four out of the five posters in their original form, claiming that they did represent the homeless in a derogatory manner. This case-study explores the launch of the poster campaign, deconstructs what was arguably the most problematic of the five posters, and situates the ruling of the Advertising Standards Authority within a socio-political context in which poverty is framed and understood in contemporary Britain.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"19 1","pages":"237 - 254"},"PeriodicalIF":0.0,"publicationDate":"2018-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2018.1470027","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44272518","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}
引用次数: 0
The Nest of Wild Stones: Paul Nash’s Geological Realism 乱石之巢：保罗·纳什的地质现实主义
Visual Culture in Britain Pub Date : 2018-05-04 DOI: 10.1080/14714787.2018.1470028
A. Reid
{"title":"The Nest of Wild Stones: Paul Nash’s Geological Realism","authors":"A. Reid","doi":"10.1080/14714787.2018.1470028","DOIUrl":"https://doi.org/10.1080/14714787.2018.1470028","url":null,"abstract":"This article reads the work of English artist Paul Nash in the context of geological discovery in the early twentieth century and during the interwar period. The new knowledge of radioactivity followed by pioneering geophysical research in England, led by Arthur Holmes and presented in his book The Age of The Earth, transformed perceptions of reality itself. Nash’s work in the English landscape tradition was confluent with this new knowledge. This article describes Nash’s works beyond the bounds of extant modernist, neo-romantic and surrealist accounts. It also redefines the ‘Englishness’ of his oeuvre. When read as a geological realism, Nash’s work is visible as a rich precedent to realisms of the twenty-first century.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"19 1","pages":"189 - 215"},"PeriodicalIF":0.0,"publicationDate":"2018-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2018.1470028","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48548292","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}
引用次数: 1
‘Forward from Wigan Pier’: Remaking Documentary Photography in the 1930s “从维甘码头出发”：20世纪30年代纪实摄影的翻拍
Visual Culture in Britain Pub Date : 2018-05-04 DOI: 10.1080/14714787.2018.1466723
Simon Dell
{"title":"‘Forward from Wigan Pier’: Remaking Documentary Photography in the 1930s","authors":"Simon Dell","doi":"10.1080/14714787.2018.1466723","DOIUrl":"https://doi.org/10.1080/14714787.2018.1466723","url":null,"abstract":"This article reconsiders the status of documentary photography by shifting enquiry from the making of the exposure to the processes that make the results of that act public. Instead of granting that a photograph functions in a semantic field and asking ‘How did this signify?’, this article explores the question: ‘How did this have the opportunity to signify?’ This question is addressed by exploring the agency of editors and publishers in the rather fraught production of George Orwell’s The Road to Wigan Pier, the first edition of which featured a suite of thirty-three photographs.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"19 1","pages":"168 - 188"},"PeriodicalIF":0.0,"publicationDate":"2018-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2018.1466723","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43779304","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}
引用次数: 2
Gluck: Art and Identity – A Symposium 格鲁克：艺术与身份——研讨会
Visual Culture in Britain Pub Date : 2018-04-30 DOI: 10.1080/14714787.2018.1460560
Paul Bench
{"title":"Gluck: Art and Identity – A Symposium","authors":"Paul Bench","doi":"10.1080/14714787.2018.1460560","DOIUrl":"https://doi.org/10.1080/14714787.2018.1460560","url":null,"abstract":"In early February 2018 London College of Fashion hosted a symposium to complement Brighton Museum’s exhibition ‘Gluck: Art and Identity’ (November 18, 2017 – March 11, 2018). The exhibition feature...","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"19 1","pages":"279 - 283"},"PeriodicalIF":0.0,"publicationDate":"2018-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2018.1460560","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47707735","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}
引用次数: 0
Non-Visual Aesthetics: Seeing the World with Our Bodies 非视觉美学：用身体看世界
Visual Culture in Britain Pub Date : 2018-02-01 DOI: 10.1080/14714787.2018.1465845
Anthony Schrag
{"title":"Non-Visual Aesthetics: Seeing the World with Our Bodies","authors":"Anthony Schrag","doi":"10.1080/14714787.2018.1465845","DOIUrl":"https://doi.org/10.1080/14714787.2018.1465845","url":null,"abstract":"This article explores the role of ‘physical ontologies’ within socially engaged art practices, and explores how the notion of visual art can be limiting for artworks developed with communities and ‘non-artists’. It uses the field of embodied cognition and the concept of an anthropology of the body to frame how physical activities can be positioned not only as ‘art’ but as processes by which artists can ethically explore the world with communities. It therefore provides a counter-narrative to assumptions of how art should function within socially engaged contexts, and examines how physical ontologies become effective – and affective – tools when working in a genre of art that is fundamentally based on humans exchanging with each other in a process of meaning-making. While there are many current discussions about the role of art within the public realm, the formulation of a physical ontology within socially engaged practices has been less explored, and this article provides a reflective discussion point. It is written from the perspective of a practice-based researcher who has worked within the field of participatory/public art for over fourteen years, and provides an example of a physical methodology to frame the argument. This information would be important and interesting for any fields or practitioners working in an engaged or participatory manner with an artist, such as social work, participatory democracy/activisms, or other socially engaged practices.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"19 1","pages":"216 - 236"},"PeriodicalIF":0.0,"publicationDate":"2018-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2018.1465845","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42937906","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}
引用次数: 1
John Singer Sargent and the fin de siècle Culture of Mauve 约翰·辛格·萨金特和淡紫色的终极文化
Visual Culture in Britain Pub Date : 2018-01-02 DOI: 10.1080/14714787.2018.1447992
Charlotte Ribeyrol
{"title":"John Singer Sargent and the fin de siècle Culture of Mauve","authors":"Charlotte Ribeyrol","doi":"10.1080/14714787.2018.1447992","DOIUrl":"https://doi.org/10.1080/14714787.2018.1447992","url":null,"abstract":"This article focuses on what Edwin Blashfield described as John Singer Sargent’s ‘predilection for aniline suggestions in colours’. This is particularly striking in the early oils of Sargent but also in the writings of some of his French literary acquaintances, from Robert de Montesquiou to Judith Gautier, who strangely described the painter’s works from his formative period in Paris and London using the new chromatic terminology and notably the colour description ‘mauve’ or its variants such as ‘lilac’ or ‘heliotrope’. It is this ‘culture of mauve’, to paraphrase Sabine Doran’s essay on the ‘culture of yellow’, as the subversive colour of modernity which I will attempt to unveil, in keeping with what Vernon Lee described as Sargent’s ‘curious’ francophilia.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"17 9","pages":"26 - 6"},"PeriodicalIF":0.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2018.1447992","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41270448","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}
引用次数: 1
Bodies on the Threshold: The Significance of Fabrics in John Singer Sargent’s Male Nudes, 1890–1915 门槛上的身体:约翰·辛格·萨金特的男性裸体作品中织物的意义，1890-1915
Visual Culture in Britain Pub Date : 2018-01-02 DOI: 10.1080/14714787.2018.1435304
A. Muñoz Martín
{"title":"Bodies on the Threshold: The Significance of Fabrics in John Singer Sargent’s Male Nudes, 1890–1915","authors":"A. Muñoz Martín","doi":"10.1080/14714787.2018.1435304","DOIUrl":"https://doi.org/10.1080/14714787.2018.1435304","url":null,"abstract":"John Singer Sargent’s studies of the male nude remain one of the least explored aspects of the artist’s production. Taking into account his passion for textiles, which he collected and used repeatedly in his work, this article analyses a group of charcoal drawings, watercolours, lithographs and oil paintings of semi-draped male models from the period between 1890 and 1915, some of which have never received scholarly attention. Examining them as an independent project unified by the presence of fabrics – rather than as preparatory works or isolated formal exercises – exposes the ambiguities of Sargent’s approach to the male form, which cannot be limited to clean-cut categories such as ‘academic’ or ‘homoerotic’. A closer exploration of the treatment of the relationship between body and cloth reveals the significance of the use of textiles as a means of expanding the possibilities of interpretation of these works. This might have enabled a queer reading of them within the realm of the artist’s home and studio.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"19 1","pages":"66 - 88"},"PeriodicalIF":0.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2018.1435304","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60250287","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}
引用次数: 0
Art Music: John Singer Sargent as Listener, Practitioner, Performer and Patron 艺术音乐:约翰·辛格·萨金特作为听众、实践者、表演者和赞助人
Visual Culture in Britain Pub Date : 2018-01-02 DOI: 10.1080/14714787.2018.1447392
L. Langley
{"title":"Art Music: John Singer Sargent as Listener, Practitioner, Performer and Patron","authors":"L. Langley","doi":"10.1080/14714787.2018.1447392","DOIUrl":"https://doi.org/10.1080/14714787.2018.1447392","url":null,"abstract":"Music was more than a side interest or social activity in the life and work of John Singer Sargent. Studying, playing and listening to it for most of his career equipped him with perceptual and tactile skills that appear to have influenced his artistic technique. Further, his move to London in 1886 opened fresh opportunities for musical engagement, underrated in art historical narratives heretofore. By examining aspects of Sargent’s music development as listener, practitioner, performer and patron, alike through specific pieces he knew and design parallels in his paintings, this article shows how integral music was to Sargent’s individuality.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"19 1","pages":"112 - 131"},"PeriodicalIF":0.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2018.1447392","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48195744","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}
引用次数: 1
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