Visual Resources最新文献_第8页

Les Rites de Passage: Ritual, Initiation, and the State in Works by Sigalit Landau and Anisa Ashkar 《通过的仪式：仪式、启动和状态》西格丽特·兰道和安妮莎·阿什卡作品

Visual Resources Pub Date : 2018-08-23 DOI: 10.1080/01973762.2018.1493561

Nava Sevilla-Sadeh

引用次数: 0

Peripheral Circulations, Transient Centralities: The International Geography of the Avant-Gardes in the Interwar Period (1918–1940) 外围环流，短暂的中心:两次世界大战期间先锋派的国际地理(1918-1940)

Visual Resources Pub Date : 2018-07-02 DOI: 10.1080/01973762.2018.1476013

Béatrice Joyeux-Prunel

{"title":"Peripheral Circulations, Transient Centralities: The International Geography of the Avant-Gardes in the Interwar Period (1918–1940)","authors":"Béatrice Joyeux-Prunel","doi":"10.1080/01973762.2018.1476013","DOIUrl":"https://doi.org/10.1080/01973762.2018.1476013","url":null,"abstract":"This article questions the common historiography about the avant-gardes in the interwar period, in which Paris is often considered the international avant-garde capital city, with surrealism as its perfect model. It starts with the idea that the history of the avant-gardes (artists and artists’ groups who considered themselves or who were considered innovative) could be studied as “a social field,” but also an international field structured by mobility. It focuses on the circulation of avant-garde artists and their works, as well as the social, economic, financial, geopolitical, and colonial bases of these circulations, to understand how some groups, artists, stories, and centers managed to establish themselves better than others. Contrary to the regular narrative based on Parisian domination, a circulatory approach highlights that Paris isolated itself from avant-gardes in the 1920s, unlike the opening of Germany and Central Europe, and that the surrealists themselves were not so international until 1929. Looking at social groups, at their movements and circulation, as well as the various strategies deployed and the underlying geopolitical positions taken by artists after 1929, it shows that from 1929, the Parisian scene, and the surrealist movement in particular, very slowly became a new focus for new artistic generations. Paris only became a global center of avant-garde circulation after 1934 and surrealism then gradually became the focus of international artists’ careers. In this process, artists coming from the peripheries of Europe and the Americas, cultural transfers, and resemanticization processes played a central role.","PeriodicalId":41894,"journal":{"name":"Visual Resources","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01973762.2018.1476013","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47616910","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: 3

Displaying the Periphery: The Upper-Hungarian Museum and the Politics of Regional Museums in the Austro-Hungarian Monarchy 展示外围:上匈牙利博物馆与奥匈帝国时期地区博物馆的政治

Visual Resources Pub Date : 2018-07-02 DOI: 10.1080/01973762.2018.1483309

Nóra Veszprémi

{"title":"Displaying the Periphery: The Upper-Hungarian Museum and the Politics of Regional Museums in the Austro-Hungarian Monarchy","authors":"Nóra Veszprémi","doi":"10.1080/01973762.2018.1483309","DOIUrl":"https://doi.org/10.1080/01973762.2018.1483309","url":null,"abstract":"The Upper-Hungarian Museum of Kassa/Kaschau/Košice was established in 1872 as one of the many ambitious but severely underfunded regional museums coming into being in the Austro-Hungarian Monarchy. This article examines how the museum negotiated the delicate balance between maintaining good relations with the capital, necessary for the sake of survival, and following its own local agenda. It discusses the history of the institution in the context of the complex political and administrative structure of Austria-Hungary, as an example of the dynamics between the Monarchy’s “centers” and “peripheries.” After 1867, Hungary’s governments took the course of centralization, curtailing the political agency of the counties, while increasingly forcing non-Hungarian speakers in multi-ethnic regions such as Upper Hungary to adopt the Hungarian language. The article examines the museum’s place in these processes, arguing that, rather than simply disseminating the narratives of the center, the museum conceptualized its own role in a more autonomous and multi-faceted way. Finally, it seeks to use the museum as an example of the “periphery” as an autonomous entity, and to question the usefulness of a simple binary of center and periphery in researching Austro-Hungarian culture.","PeriodicalId":41894,"journal":{"name":"Visual Resources","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01973762.2018.1483309","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42583817","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

Materiality as Periphery 作为外围的物质性

Visual Resources Pub Date : 2018-06-22 DOI: 10.1080/01973762.2018.1475887

Michael Yonan

引用次数: 1

Missionary Photography: The Liberian Archive of Doctor Georgia Patton 传教士摄影:利比里亚乔治亚·巴顿医生档案

Visual Resources Pub Date : 2018-06-12 DOI: 10.1080/01973762.2018.1478556

Earnestine Jenkins

{"title":"Missionary Photography: The Liberian Archive of Doctor Georgia Patton","authors":"Earnestine Jenkins","doi":"10.1080/01973762.2018.1478556","DOIUrl":"https://doi.org/10.1080/01973762.2018.1478556","url":null,"abstract":"This article focuses on the personal missionary experience of an African American woman physician, Dr Georgia Ester Lee Patton (1864–1900), later known as Georgia Washington. Patton worked in Liberia, a unique setting for missionary activities, being a colony established by former American slaves. The primary resource materials used here are missionary photographic archives, which comprise a distinct category of colonial cultural production. Photography assisted missions in promoting western achievements, disseminating Christianity, and advancing progress, by exposing Africans to western civilization. Such imagery was largely created by European photographers working within the social milieu of missionary organizations. Missionary photographs, therefore, functioned as an official public record of the missionary enterprise; today they are invaluable records of the histories of Christian missions around the globe. Missionary archives exist as both public and private archives. Private archives, as opposed to the images planned for a public audience, were compiled by individual missionaries and intended for private viewings. For this case study I use the private archive Patton compiled after she worked as a medical missionary in Liberia between 1893 and 1895. Patton later returned to Tennessee, where she became the first woman physician in the city of Memphis. This article seeks to determine how Patton’s perception of herself as an African American, as a woman, as a Christian, and as a physician influenced her unusual experience as a medical missionary in late nineteenth-century West Africa.","PeriodicalId":41894,"journal":{"name":"Visual Resources","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01973762.2018.1478556","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47052583","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

Art on the Move: Art Mobility in the Long Nineteenth Century 流动中的艺术:漫长的十九世纪的艺术流动

Visual Resources Pub Date : 2018-04-18 DOI: 10.1080/01973762.2018.1442069

C. Sheldon

引用次数: 0

Women Photographers and Female Identities: Annemarie Schwarzenbach, New Dandy and Lesbian Chic Icon 女摄影师和女性身份:安妮玛丽·施瓦岑巴赫，新花花公子和女同性恋时尚偶像

Visual Resources Pub Date : 2018-04-11 DOI: 10.1080/01973762.2018.1444129

F. Muzzarelli

{"title":"Women Photographers and Female Identities: Annemarie Schwarzenbach, New Dandy and Lesbian Chic Icon","authors":"F. Muzzarelli","doi":"10.1080/01973762.2018.1444129","DOIUrl":"https://doi.org/10.1080/01973762.2018.1444129","url":null,"abstract":"This article explores how Swiss writer and photographer Annemarie Schwarzenbach (1908–1942), used photography, both as author and subject, to define a new identity and build a new visibility for women. It begins by exploring the shared poetics that drew women’s artistic activities towards photography at the turn of the twentieth century. At that time, photography was a medium of choice for women seeking to reclaim their bodies and subtract them from the male gaze. It also provided women with an expression of identity, gender achievement and gendered negotiation. The article analyzes Schwarzenbach’s photographic practice as a distinctive and complex case study within this context. A well-educated and wealthy young woman, Schwarzenbach embodied the image of the emancipated and independent new woman, both in her life and professional choices, bravely embarking on dangerous and difficult journeys, writing articles and taking photographs of far-away, diverse and suffering people. Nevertheless, it was only when she moved to the other side of the camera and became the subject of portraits taken by her female friends and partners that Schwarzenbach became the first-hand witness and icon of a new search for gender visibility. Her fashion choices and her own body expressed and codified a sophisticated lesbian chic style.","PeriodicalId":41894,"journal":{"name":"Visual Resources","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01973762.2018.1444129","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47740409","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 Interventions and Disruptions in Financial Systems: An Interview with Paolo Cirio 金融系统中的艺术干预与颠覆——保罗·西里奥访谈录

Visual Resources Pub Date : 2018-04-03 DOI: 10.1080/01973762.2018.1437971

Marisa Lerer, C. McGarrigle

引用次数: 0

Main Street Meltdown: Economy 主街崩溃:经济

Visual Resources Pub Date : 2018-04-03 DOI: 10.1080/01973762.2018.1437976

LigoranoReese

引用次数: 0

Laboratoire Déberlinisation – Art, Finance, and the Legacies of Colonialism in Contemporary African Art: An Interview with Mansour Ciss Kanakassy Déberlinisation实验室——当代非洲艺术中的艺术、金融和殖民主义遗产——曼苏尔·西斯·卡纳卡西访谈录

Visual Resources Pub Date : 2018-04-03 DOI: 10.1080/01973762.2018.1451967

Marisa Lerer, C. McGarrigle

{"title":"Laboratoire Déberlinisation – Art, Finance, and the Legacies of Colonialism in Contemporary African Art: An Interview with Mansour Ciss Kanakassy","authors":"Marisa Lerer, C. McGarrigle","doi":"10.1080/01973762.2018.1451967","DOIUrl":"https://doi.org/10.1080/01973762.2018.1451967","url":null,"abstract":"Mansour Ciss Kanakassy (b. 1957) is a Berlin-based Senegalese artist whose practice addresses the legacy of colonialism in contemporary Africa, in particular as it is expressed in the financial systems of the former Francophone colonies of West Africa, where the currency, the CFA franc, historically tied to the French franc, is now pegged to the euro. The acronym CFA originally stood for Colonies Françaises d'Afrique – French Colonies of Africa – and now Communauté Financière Africaine – African Financial Community. In 2001, Ciss Kanakassy created the Laboratoire Déberlinisation (Déberlinisation Laboratory), a multifaceted project that traces contemporary African issues to the Berlin Conference of 1884–1885, which divided Africa among the great powers of Europe. The project, which includes the creation and circulation of a pan-African currency, the AFRO, and an international travel document, the Global Pass, has been extensively exhibited throughout Africa and Europe, and in China. In this interview, we discuss the origins of the Laboratoire Déberlinisation and the role of the AFRO in understanding the financial entanglements of neocolonialism.","PeriodicalId":41894,"journal":{"name":"Visual Resources","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01973762.2018.1451967","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45599519","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