Visual Culture in Britain最新文献

{"title":"An Awkward Fit? Winifred Knights’ Scenes from the Life of Saint Martin of Tours, Canterbury Cathedral","authors":"R. Eckersley","doi":"10.1080/14714787.2017.1326292","DOIUrl":"https://doi.org/10.1080/14714787.2017.1326292","url":null,"abstract":"This article discusses Winifred Knights’ Scenes from the Life of Saint Martin of Tours (1933, St Martin’s Chapel, Canterbury Cathedral). It examines the reredos’ narratives and functions. For the commissioners it was integral to a memorial to Alfred, Lord Milner; for Knights, the central narrative represented her stillborn son. Knights, who had won the Rome Prize for The Deluge in 1920, adapted her design in response to Sir Herbert Baker’s suggestions. Later in the 1930s, Dean Hewlett Johnson moved the painting to the Crypt. The article argues that it is best seen in the original memorial location associated with service and resurrection.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"18 1","pages":"192 - 216"},"PeriodicalIF":0.0,"publicationDate":"2017-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2017.1326292","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46569109","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":"Mass Photography: Collective Histories of Everyday Life by Annebella Pollen","authors":"P. Tinkler","doi":"10.1080/14714787.2017.1329061","DOIUrl":"https://doi.org/10.1080/14714787.2017.1329061","url":null,"abstract":"Photographic projects claiming to represent Britain, or even the world, on one day pose fascinating questions about visual culture: not least, what sense scholars can make of them. In Mass Photography: Collective Histories of Everyday Life, Pollen addresses this question through a finely tuned study of the One Day for Life (ODfL) project. This fundraising campaign, launched by the cancer charity Search 88 in June 1987, amassed 55,000 photographic prints on August 14, 1987, taken mostly by women; the winning entries were subsequently published twelve weeks later in a book entitled One Day for Life. Foregrounding the ODfL project, but engaging also with similar analogue and digital initiatives, Pollen establishes the academic significance of mass photography, challenging a continuing tendency to dismiss domestic and amateur photography as banal and trite. She considers how we might interpret mass photography, exploring the historically specific meanings of the ODfL project and what it reveals about ‘more enduring cultural performances, about charity, identity, memory, emotion and competition’ (p. 3). Strategies for managing the potentially overwhelming number of photos amassed in ODfL, and for evaluating the photographic practices and outputs that constituted this project, are a necessary prelude to interpretation and are discussed in detail. Pollen usefully identifies two types of approach to mass photography. First, those that focus on what photos show and that analyse pictorial subjects. Second, ethnographic or anthropological approaches that address what photographs do. Pollen rejects the first type of approach because images are often inadequate indicators of meaning and purpose; as she points out, cement mixers can stand for grief and kittens for cancer. Adopting the second, Pollen explains that ‘photographs – inscribed on the reverse as well as displaying an image on the front – may be seen as tangible and purposeful performances with work to do as well as images to show’ (p. 13). The book, therefore, focuses on stories about, and practices around, the photographs because, in mass photography projects, ‘photos are made meaningful through the desires they enact, the communities they create, the public concerns they address, the memories they anticipate’ (p. 219). Pollen presents the results of several layers of research. There is a cultural biography of ODfL embracing its aspirations and plans; sponsors and publicity; submission, selection and judging processes, including how 55,000 images were reduced to a shortlist of 4000 in four days; the publicity and launch of the book featuring the winning entries; the folding of the charity on October 31, 1991; and the archiving of the photos and related documentation in the Mass Observation Archive. Tackling the huge quantities of photos and materials amassed by the ODfL project, Pollen leads us through the different elements of her scrutiny of its archive: what is in it, the technique and","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"18 1","pages":"318 - 320"},"PeriodicalIF":0.0,"publicationDate":"2017-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2017.1329061","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44202631","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":"Containing the Spectre of the Past: The Evolution of the James Bond Franchise during the Daniel Craig Era","authors":"J. Murray","doi":"10.1080/14714787.2017.1338161","DOIUrl":"https://doi.org/10.1080/14714787.2017.1338161","url":null,"abstract":"The notable commercial and critical success of the four James Bond films made with actor Daniel Craig playing the lead role – Casino Royale (Martin Campbell, GB/Cze/USA/Ger/Bah, 2006), Quantum of Solace (Marc Forster, GB/USA, 2008), Skyfall (Sam Mendes, GB/USA, 2012) and Spectre (Sam Mendes, GB/USA, 2015) – has, over the past decade, provoked a sustained increase in the amount of academic commentary and debate around the Bond character, his fictional universe and multimedia incarnations. Working from the premise that Spectre knowingly advertises itself as a possible conclusion to the Craig era, this article attempts to identify and discuss a range of key thematic trends in Bond filmmaking (and Bond criticism) in the years since Casino Royale. Such themes include: enhanced attention to the fictional spy’s body as a producer of textual and popular cultural meaning; Bond’s complex relationship with evolving ideas of British national identity and state structures; and the questionable extent to which the Craig Bond films constitute a meaningful revision of the 007 film franchise’s traditional aesthetic and thematic defining characteristics.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"18 1","pages":"247 - 273"},"PeriodicalIF":0.0,"publicationDate":"2017-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2017.1338161","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47019056","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 Surviving Image: Phantoms of Time and Time of Phantoms: Aby Warburg’s History of Art by Georges Didi-Huberman","authors":"Richard Baxstrom","doi":"10.1080/14714787.2017.1334385","DOIUrl":"https://doi.org/10.1080/14714787.2017.1334385","url":null,"abstract":"Between June 13 and 15, 2016, in what were perhaps the last days of an affirmatively cosmopolitan United Kingdom, the Warburg Institute of the University of London hosted a star-studded and well-at...","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"18 1","pages":"312 - 314"},"PeriodicalIF":0.0,"publicationDate":"2017-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2017.1334385","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48181613","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":"Representing the Irish Emigrant: Humour to Pathos?","authors":"F. Cullen","doi":"10.1080/14714787.2017.1328987","DOIUrl":"https://doi.org/10.1080/14714787.2017.1328987","url":null,"abstract":"The nineteenth-century artist, Erskine Nicol (1825–1904) is well known for his anecdotal and humorous paintings of Irish themes. This article analyses one of his larger oils to show that on occasion he attempted a more serious representation of the rural Irish figure which asks for empathy as opposed to ridicule. The focus is on An Irish Emigrant Landing in Liverpool (signed and dated 1871; Scottish National Gallery). A key part of the analysis is an exploration of the relationship between the painting and a published account of a visit to England by the Irish emigrant depicted.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"18 1","pages":"176 - 191"},"PeriodicalIF":0.0,"publicationDate":"2017-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2017.1328987","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45396713","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":"Round Table: Queer Lifestyles, Politics and Curating Now","authors":"Reina Lewis, A. Stephenson","doi":"10.1080/14714787.2017.1318543","DOIUrl":"https://doi.org/10.1080/14714787.2017.1318543","url":null,"abstract":"These three thought-provoking pieces were originally conceived of as a tripartite round table discussion at the end of our conference ‘Exploring Queer Cultures and Lifestyles in the Creative Arts in Britain c.1885–1967’ held at the LondonCollege of Fashion inMay2016.DeliveredbyMichaelHatt, Elizabeth Wilson andClare Barlow, they formed semi-scripted responses to the searching papers, lively questions and animated discussions that occurred on that day. Our aim in including them within this special issue of Visual Culture in Britain as three short texts is to retain the freshness and flavour of the plenary as a provocation and reflection at the culmination of a lively conference. We see, in the pages that follow, the perspectives of differentgeneration authors from varied disciplinary backgrounds who had spent the day engaging with the contemporary problematic of framing the insights of gay and lesbian studies and queer theory in relation to the examination of the historical past approached from the contemporarymoment. ForHatt, it is the shifting and complex realignment of lived experience and biographywith contemporary gay lifestyle and the ill-fitting intersection of earlier fluid historical identities with today’s non-normative sexualities that is challenging. For Wilson, it is the bold claims made about the transgressive nature of queer studies that is open to reviewas the contradictions of the assimilation of earlier Lesbian and Gay radical politics becomes increasingly commonplace and itsmainstreamappropriationmore troublesome.And for curatorBarlow, it is the potentialities that experimental exhibition-making has for publicly engagingwider audienceswith queer artists (LGBTQ+or not), their artworks and its queer complexities through their encounters in the gallery spaces of thenationalmuseum that is exciting at the timeof Tate Britain’s ‘QueerBritish Art, 1861–1967’ show. We thank them for allowing us to publish them here.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"18 1","pages":"100 - 114"},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2017.1318543","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43624690","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":"‘Maria Lassnig’ and ‘Francis Bacon’: Invisible Rooms at Tate Liverpool","authors":"R. Arya","doi":"10.1080/14714787.2017.1279402","DOIUrl":"https://doi.org/10.1080/14714787.2017.1279402","url":null,"abstract":"Among the highlights of Tate Liverpool 2016’s calendar were the Francis Bacon and Maria Lassnig shows. They were designed to be contiguous. What struck me by walking from the Lassnig to the Bacon s...","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"18 1","pages":"115 - 117"},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2017.1279402","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48482450","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":"Then and Now: What the ‘Queer’ Portrait Can Teach Us about the ‘New’ Longue Durée","authors":"Laura L. Doan","doi":"10.1080/14714787.2017.1310630","DOIUrl":"https://doi.org/10.1080/14714787.2017.1310630","url":null,"abstract":"When we fix our gaze on a sexual object in the context of queer remembrance the pull toward a linear narrative of homosexual emancipation is hard to resist. The use of queer portraiture in the Tate Britain’s exhibition (‘Queer British Art, 1861–1967’), marking the fiftieth anniversary of the Sexual Offences Act (1967), provides a good opportunity for reflecting on the limits and possibilities of expecting resemblance across time. Identifying the sitter as an X binds us to a past remembered which condenses all the messiness of sexual desire into the modern categories prevalent today, though this approach to pastness entails risk in increasing rather than decreasing the distance between then and now. Looking specifically at the portraits of two women prominent in London’s bohemian circles in the interwar era (Radclyffe Hall and Una, Lady Troubridge) I wonder what is at stake in imagining the object as like us.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"18 1","pages":"18 - 34"},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2017.1310630","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45805006","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":"Virilizing and Valorizing Homoeroticism: Eugen Sandow’s Queering of Body Cultures Before and After the Wilde Trials","authors":"F. Brauer","doi":"10.1080/14714787.2017.1321224","DOIUrl":"https://doi.org/10.1080/14714787.2017.1321224","url":null,"abstract":"When the art of posing was exploited by Oscar Wilde and bodybuilding performer Eugen Sandow, both achieved worldwide notoriety. While Wilde fashioned but concealed his body as the effeminate aesthete, Sandow fashioned and revealed his body as a naked Herculean god for both camera and stage. Yet after the Labouchère Amendment, when Wilde was persecuted as a poseur and prosecuted, Sandow was not censored, even though his homosexuality and homosexual following were a well-known public secret. Amidst the homophobic panic unleashed by the Wilde trials, Sandow’s posing was reframed as Sandow’s Physical Culture, repackaged as a patriotic strategy for achieving imperial manliness and National Efficiency, while providing licit new rituals for intense homosocial interaction with bared male bodies lauded by Uranists and Unisexuals. In the battle of virility over effeminacy, this article reveals how the queering of Sandow’s body cultures facilitated their circulation as multifarious signs, simultaneously aspirational and erogenous, edifying and homoerotic, permissive and perverse.","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"18 1","pages":"35 - 67"},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2017.1321224","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47601511","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":"Strike Art: Contemporary Art and the Post-Occupy Condition by Yates McKee","authors":"John Ayscough","doi":"10.1080/14714787.2017.1279404","DOIUrl":"https://doi.org/10.1080/14714787.2017.1279404","url":null,"abstract":"","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"18 1","pages":"118 - 120"},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2017.1279404","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42021904","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}