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Vasylyshyn, Igor P. "EXISTENTIAL PARADIGM OF LYRICS BY MYKHAILO SYTNYK AND HANNA CHERIN (ARTISTIC AND BIOGRAPHICAL DISCOURSE)." Alfred Nobel University Journal of Philology 2, no. 22 (2021): 82–97. http://dx.doi.org/10.32342/2523-4463-2021-2-22-7.
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The article highlights the poetic legacy of the war and postwar years of Ukrainian artists Mykhailo Sytnyk and Hanna Cherin, united not only by the Muse but also, albeit for a short time, by marriage. The creative tandem of poets lasted until the end of the 1940s, in the 1950s their lives diverged in the United States, but there remained works that united artists in their common life and artistic destiny. The aim of the article is to comprehend the existential paradigm of the lyrics of M. Sytnyk and H. Cherin in the artistic and biographical discourse. Materials of scientific research, in particular the texts of some poems, have been published in Ukraine for the first time and make it possible to cover the littleknown pages of the life and work of M. Sytnyk and H. Cherin in the 1940s in Europe. The article is written with the maximum preservation of the cited materials, which are important historical and literary sources in the study of the biography and work of Ukrainian artists, the disclosure of their biographical and creative discourse. To achieve this goal, several methods were used – primarily from biographical with the study of authentic sources, cultural-historical, philological, intertextual to phenomenological and hermeneutic analysis, which allow distinguishing and analyzing artistic and biographical discourse in the lyrics of M. Sytnyk and H. Cherin to explore the existential paradigm of their poetry. Elements of conceptual analysis are also used, which allow considering the lyrics of poets through the prism of dominant concepts. The married life of artists and the reasons for their divorce can be reproduced only from fragments, i.e. from the words of their friends, acquaintances, in some mentions of researchers of their work and from the poetic lines of M. Sytnyk and H. Cherin, because none of them did not mention this period after the break. The post-war period in Europe was the time not only of romantic relations between artists, marriage, and the birth of a daughter but also of successful creative activity, joint speeches at conferences, literary evenings, and other events of the DP cultural and artistic community. While in Europe, poets published their works in numerous emigrant publications and separate collections of poetry in the 1940s, existential meditations), in which the dominant concept is the lost Motherland, which is realized in the lyrics of poets through the opposition of foreign – native land. The artistic discourse of poetry of the war and post-war periods of M. Sytnyk and H. Cherin is represented by personal, intimate lyrics; civic and patriotic lyrics (in wartime – the lyrics of heroism and rank), and existential-nostalgic, anteistic lyrics associated with the loss of the Motherland. The existential paradigm of the lyrics of Mykhailo Sytnyk and Hanna Cherin in the artistic and biographical discourse is determined primarily by the circumstances of their life and creative activity – the Second World War, the difficult postwar years, and the emigration factor, which for many Ukrainian artists was decisive not only in their lives but also in their work. The common destiny of the artists was connected by the poetry of the war and the first postwar years, which reflected at the artistic level not only the story of their love – its bright and dramatic sides, but also the existential circumstances of Ukrainians in exile.
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Samchuk, Taras. "Kyiv period of Illia Shulga’s life and work (1928-1938)." Text and Image: Essential Problems in Art History, no. 1 (2022): 144–51. http://dx.doi.org/10.17721/2519-4801.2022.1.11.
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Research work devoted to the details of the Kyiv period of life and work of Ukrainian painter Illia Shulga. This period covers the years 1928-1938, at this time there were rapid changes in the artistic life of Ukraine, which affected the fate of the artist. For most of his life the painter lived and worked at a distance from active artistic life, only in the late 1920s he manage to move to Kyiv. Despite the noticeable influence of avant-garde in artistic life, Illia Shulga consistently followed a realistic approach to art, it was the influence of his education, obtained at the St. Petersburg Academy of Arts. He successfully worked in various genres (portrait, landscape, genre paintings). During his lifetime, the artist has created about 1,000 works (the Kyiv period accounts for about 170 works), but most of them have not survived to our time. Most of Shulga's works disappeared during World War II. Today, a little more than 20 of his works are preserved in the museums of Ukraine from the huge creative heritage of the artist. The article introduces a number of documents that shed light on the details of the artist's biography. In particular, the criminal case of Illia Shulga, which recorded a number of details of the last period of the artist's life. The documents of the case shed light on the details of the arrest, the course of the investigation, and the reasons for sentencing the painter. The publication also analyzed the most complete currently known list of Shulga’s works, which includes 564 items. This list was compiled in 1941 by the artist's wife, and later this list and a number of other documents related to the life and work of the artist were deposited in the Archive-Museum D. Antonovych of the Ukrainian Free Academy of Sciences in the United States. The appendices contain a list of the artist's works that are currently stored in museums in Ukraine and a link to the list of the artist's works.
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Bronk, Katarzyna. "“Next Unto the Gods My Life Shall Be Spent in Contemplation of Him”: Margaret Cavendish’s Dramatised Widowhood in Bell in Campo (I&II)." Studia Anglica Posnaniensia 52, no. 3 (December 1, 2017): 345–62. http://dx.doi.org/10.1515/stap-2017-0013.
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Abstract Margaret Cavendish (1623–1673) is nowadays remembered as one of the most outspoken female writers and playwrights of the mid-seventeenth-century; one who openly promoted women’s right to education and public displays of creativity. Thus she paved the way for other female artists, such as her near contemporary, Aphra Behn. Although in her times seen as a harmless curiosity rather than a paragon to emulate, Cavendish managed to publish her plays along with more philosophical texts. Thanks to the re-discovery of female artists by feminist revisionism, her drama is now treated as a valuable source of knowledge on the values and norms of her class, gender, and, more generally, English society in the seventeenth century. Cavendish’s two-partite play Bell in Campo (1662) is a fantasy on the world where women can fight united not only against misogyny but also against an actual enemy. While the two plays seem to be focused on the valiant Lady Victoria and her female “Noble Heroicks”, Bell in Campo likewise offers an odd subplot featuring two widows and their lives without their beloved husbands. In the secular discourse of the seventeenth century, widowhood has been seen as either liberating – as when the woman became the sole owner of her husband’s estate and goods, or regained her own, and thus more independent – or degrading – when she became the not-so-welcomed burden on her children’s shoulders and pockets. Other studies on widowhood likewise state its symbolic function, showing women as the bearers of memory, predominantly of the husband and his virtues, and often attending to the spouse’s site of memory. While discussing the cultural history of properly performed widowhood, seen as the final (st)age of a woman’s life, and taking into account Cavendish’s remarkable biography, the present paper offers a close study of her propositions for appropriate widowhood and its positioning in contrast to other states of womankind as presented in Bell in Campo.1 It will likewise take into account the more or less sublimated evidence for gerontophobia, particularly in relation to women, as shown in Cavendish’s play and seventeenth-century culture.
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Kryshtaleva, M. K. "Alexander Benois Archive: Collection and Distribution." Modern History of Russia 12, no. 1 (2022): 173–84. http://dx.doi.org/10.21638/11701/spbu24.2022.110.
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Art historian, artist, and critic Alexander Nikolaevich Benois (1870–1960) collected and systematized his archive both before and after emigration from Leningrad to Paris in 1926. According to his own assessments and according to contemporaries, the materials contained in the archive are valuable for studying the history of art culture at the turn of the nineteenth and twentieth centuries, and as sources for the history of Russian emigration in the first half of the twentieth century. Research and exhibitions devoted to the biography and work of Benois, as a rule, focus on his activities until the autumn of 1926 and narrate the artist’s activities in emigration, not appealing to archival materials of this period. During 34 years of emigration, part of the archive, partially transported from Leningrad, was replenished with new materials of a personal and professional nature. His personal archive became part of the museum’s collections during his lifetime, and after his death it was distributed among several more storage locations in Russia and the United States, still partially remaining in the family. Information about the archival heritage of Benois is extremely scattered, which might explain their insufficient coverage in studies of Russian emigration, as well as ideas about the activities and significance of Benois personality for the artistic and the emigration world of the mid-twentieth century. The article traces the history of the formation and principles of collecting the archive, identifies the reasons and the course of distribution, systematize information about its location and the composition of materials in storage places.
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Arustamova, Anna A. "David Burliuk in Color and Rhyme Magazine. Article 1. Painter and Poet on the Crossroads of Cultures." Literature of the Americas, no. 10 (2021): 207–27. http://dx.doi.org/10.22455/2541-7894-2021-10-207-227.
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The paper traces David Burliuk’s evolution as a poet, essayist and editor in the United States, where he began his career in the pro-Soviet Russian émigré newspaper Russky Golos and then switched to his personal project — Color and Rhyme, the Burliuk family magazine. The paper examines some strategies of Burliuk's self-presentation in Color and Rhyme; since in this edition Burliuk is presented as a poet and an artist, the paper analyzes, how both of these roles of Burliuk relate to each other in the texts published in the magazine. Focusing on the English-speaking reader, Burliuk emphasized the European context of his artistic biography; other contributors that published their articles and reviews in the Color and Rhyme stressed his cultural affinity with Paul Gaugin, Expressionists, Fauvists and characterized Burliuk as “American Van Gogh”. Special attention is paid to the ways of representation of American poetry in Color and Rhyme. Burliuk’s magazine published works by members of some New York poetic communities, such as The New York Poetry Forum and The Raven Poetry Circle of Greenwich Village. In particular, it is described how Burliuk as an editor represented beginners or littleknown authors in the earlier periods of his editorial activity. The article shows that Color and Rhyme magazine can be viewed not only as a tool for “promoting” D. Burliuk's art, but also as a chronicle of his activity as a writer and artist.
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Minin, Oleg. "Russian Artists in the United States." Experiment 20, no. 1 (October 27, 2014): 229–59. http://dx.doi.org/10.1163/2211730x-12341264.
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Charting Nicholas Remisoff’s artistic legacy during his California period, this essay explores his contributions to the cultural landscape of the state and emphasizes his work on live stage productions in San Francisco and Los Angeles in the early 1930s and 1940s. Delineating the critical reception of Remisoff’s work in opera, ballet and theatre in these cities, this essay also highlights the artist’s interactions and key collaborations with other Russian and European émigré artists and reflects on the nature of Remisoff’s particular affinity with Southern California.
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Prendergast, A. "Scientific Biography in the United States." Choice Reviews Online 46, no. 02 (October 1, 2008): 227–38. http://dx.doi.org/10.5860/choice.46.02.227.
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Phillips, Carla Rahn, and William D. Phillips. "Christopher Columbus in United States Historiography: Biography as Projection." History Teacher 25, no. 2 (February 1992): 119. http://dx.doi.org/10.2307/494269.
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Olin, Ferris. "Institutional activism: documenting contemporary women artists in the United States." Art Libraries Journal 32, no. 1 (2007): 11–19. http://dx.doi.org/10.1017/s0307472200014802.
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The Margery Somers Foster Center, based at the Mabel Smith Douglass Library on the Douglass College campus of Rutgers, the State University of New Jersey, is a resource center and digital archive focused on women, scholarship and leadership. Numerous intersecting initiatives based at the center, library and university are making visible the lives, works and contributions to cultural history of contemporary women artists active in the United States.
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Altman, Dana. "Contemporary Romanian Art in the United States." American, British and Canadian Studies Journal 22, no. 1 (August 15, 2014): 87–93. http://dx.doi.org/10.2478/abcsj-2014-0023.
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Abstract The article discusses the recent international interest in contemporary Romanian art and its growth in market share, with a focus on the United States. The theme is followed thorough in numerous museum exhibitions, increased collector following, art fair presence, gallery representation and auction activity initially in Europe and the United States. The phenomenon is discussed both in the context of the larger international movement conducive to the contemporary art price bubble, and in that of the local socio-economic changes. My chief interest lies in the factors leading up to the entry of post 1989 Romanian art in the global arena as a manifestation of market forces in the field. The analysis follows its grass roots local emergence through non-profit institutions, individual artists, small publications, low budget galleries, as well as the lack of contribution (with few notable exceptions) of state institutions, while pointing out the national context of increasing deregulation of social support systems resulting in lack of focus on cultural manifestations. The conclusion is that the recent ascent of contemporary Romanian art (and coincidentally, the award winning contemporary Romanian cinematography) is a fortuitous convergence of various factors, among which, increased international mobility and sharing. At the same time, it is also the result of the evolution of various individual artists that pursued a form of art rooted in Romanian artistic tradition but with a focus on the symbolic figurative. The result is a personal semiotics of raising the mundane to extraordinary levels that reconfigured the anxiety of entering a new system into an unmistakable and lasting visual language.
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Alvarez, Andrea. "Immigrant Gnosis: Making Work in the United States." post(s) 7 (December 13, 2021): 180–207. http://dx.doi.org/10.18272/post(s).v7i7.2491.
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This essay proposes a reflection on the curatorial work I did for the exhibition Comunidades Visibles: The Materiality of Migration, exhibited between February and May 2021, at the Albright-Knox Art Gallery, in Buffalo, New York. The exhibition brought together artworks by first- or second-generation immigrant Latinx artists. Each combines materials and techniques from their country of origin, from other colonized places, or from their present context with everyday or art historical references.
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Edward Beauchamp. "Education and Biography in the Contemporary United States: An Introduction." Biography 13, no. 1 (1990): 1–5. http://dx.doi.org/10.1353/bio.2010.0381.
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Barilleaux, Ryan J. "Gonzo biography." Review of Politics 68, no. 2 (May 2006): 347–49. http://dx.doi.org/10.1017/s0034670506280136.
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The single organizing fact of the Cold War was “the bomb.” In our present age of unipolarity, globalization, and the clash of civilizations, it is useful to remember that our current complexities exist only because the previous age of stark simplicity has passed into history. The decades from the end of World War II until the fall of Communism were years shaped by a nuclear standoff. The threat of nuclear conflict between the United States and the Soviet Union framed the politics and culture of the age. This framing was especially apparent in the 1950s and 1960s, before arms-control agreements lent an air of manageability to nuclear politics.
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Coco, Janice. "Dialogues with the Self: New Thoughts on Marsden Hartley's Self-Portraits." Prospects 30 (October 2005): 623–49. http://dx.doi.org/10.1017/s0361233300002209.
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Scholars have long acknowledged the crucial role biography plays in Marsden Hartley's oeuvre, as many have used his autobiography Somehow a Past and his homosexuality to interpret his recurring motifs. As a recognized writer and painter, he figured prominently in American modernism and was among the first to explore abstraction as his prime expression. Heavily influenced by European models, he forged a mature style drawn from German expressionism and his affinity for the mystic transcendentalism of writers such as Ralph Waldo Emerson, William James, and Walt Whitman. A lifelong transient, he stood apart from those in the Alfred Stieglitz circle (Figure 1), spending more time outside the United States than in, returning at the end of his life to become “the painter of Maine.” General consensus allows that Hartley's early life influenced his images directly; but, more specifically, art historian Bruce Robertson suggests that Hartley turned to self-portraiture in his last years to work through childhood issues of loss and abandonment. Following suit, this essay considers these tender issues further with a reading of four late paintings, of which two are not yet recognized as self-portraits.The paintings themselves are treated as sites to explore and define the self, in the words of the psychoanalyst D. W. Winnicott, as a “potential space” in which the artist reengages with and attempts to resolve past issues. More specifically, Winnicott describes a psychological transition, a buffer zone between mind and reality, used to cope with maturational issues. In this metaphorical space, one creates symbols and forms object relationships, meaning, a personal language with which to negotiate the real world and one's place in it. All cultural production, Winnicott argues, results from this interim process, which acts as a defensive filter to mitigate harsh truths — in Hartley's case, the loss of both parents and feelings of rejection. From this perspective, I focus narrowly on the symbolic arrangement by which identity issues merge with metaphysics, sex, and death. Although much has been written on these themes, I interpret the paintings' usefulness to Hartley, the ways that they functioned as tools, moving him toward personal integration. In dealing with issues of loss and mourning, I necessarily reflect on dark subject matter; even so, this study is not meant to represent the whole of Hartley's character. A complex person, he was not in a constant state of turmoil and, as Jonathan Weinberg, Donna Cassidy, and many others have demonstrated, Hartley was driven by much more than psychological angst. However, the lens of psychoanalysis (in this case, psychobiography and object relations) provides an additional way to interpret these late images.
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Berlin, Robert H. "United States Army World War II Corps Commanders: A Composite Biography." Journal of Military History 53, no. 2 (April 1989): 147. http://dx.doi.org/10.2307/1985746.
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Rudek-Śmiechowska, Anna. "New York, the Mecca of the Art World. Initial Study on Polish Migrant Artists who Left for the United States, 1986–1995." Studia Migracyjne – Przegląd Polonijny 47, no. 3 (181) (November 2021): 101–18. http://dx.doi.org/10.4467/25444972smpp.21.034.14454.
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The paper strives to characterize the circle of Polish visual artists who left for the United States in the late 20th century and settled in New York City, where they continued their careers. For the purposes of the paper, the subject matter has been focused on an excerpt from an ample research problem i.e. the analysis of the history of the Polish American Artists Society (PAAS,) operating in New York from 1986 through 1995. Their activities form the basis for the analysis and constitute a database to construct a more profound picture of the organization. Therefore, the years in which PAAS operated shall also constitute the paper’s framework. To foster simplicity, the term ‘artist’ and ‘artists’ shall be used to refer to visual artists born in Poland who came to New York City mainly in the 1970s, 1980s, and 1990s, permanently resided in the United States, and worked as visual artists, regardless of the technique they adopted, be it painters, sculptors, photographers, graphic artists, illustrators, performers, artistic fabric weavers, or video artists. The paper uses their micro-stories to illustrate the phenomenon behind the prolific community of Polish artists in New York City from 1986 through 1995. It is based on research on PAAS, which has become the basis for a monographic book about the Society.
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Karas, Allannah. "CONFLICT, TRAGEDY, AND INTERRACIALITY: BOB THOMPSON PAINTS VERGIL'S CAMILLA." Ramus 51, no. 2 (December 2022): 268–88. http://dx.doi.org/10.1017/rmu.2022.15.
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In The Death of Camilla (1964), Black American painter Bob Thompson fascinates, disturbs, and provokes enduring questions about race in the United States. In this painting (Figure 1), multicolored nudes clash in battle around two figures frozen in a moment of anguish: a light-skinned female warrioress dying in the arms of a dark-hued male opponent. The power of this painting lies not only in its raw emotion, symbolism, and color, but also in Thompson's daring signification upon the story of Camilla from Vergil's Aeneid and on a seventeenth-century drawing by Nicolas Poussin. While a relatively ‘underknown’ artist, during his life Robert Louis Thompson (1937–1966) received extensive recognition for his compelling reconfigurations of the European old masters and their Classical (Greco-Roman) subjects. Thompson, according to his early biographer, Judith Wilson, may also be ‘the first American artist to put the nation's interracial sex life/sex fantasies on public view.’ In many of his works of reception, Thompson combines these two artistic preoccupations into compelling pieces that foreground tragic contradictions around interraciality in the United States. In his The Death of Camilla painting, I argue, Thompson expands upon the symbolic trajectory of Vergil's story and ‘colors’ Poussin in such a way as to re-present Camilla as collateral damage of the sort of nation building that necessitates interracial conflict.
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Weinberg, Gerhard L. "German Documents in the United States." Central European History 41, no. 4 (November 14, 2008): 555–67. http://dx.doi.org/10.1017/s0008938908000848.
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At the end of World War II, vast quantities of German documents had fallen into the hands of the Allies either during hostilities or in the immediately following weeks. Something will be said near the end of this report about the archives captured or seized by the Soviet Union; the emphasis here will be on those that came into the possession of the Western Allies. The United States and Great Britain made agreements for joint control and exploitation, of which the most important was the Bissell-Sinclair agreement named for the intelligence chiefs who signed it. The German naval, foreign office, and chancellery archives were to be physically located in England, while the military, Nazi Party, and related files were to come to the United States. Each of the two countries was to be represented at the site of the other's holdings, have access to the files, and play a role in decisions about their fate. The bulk of those German records that came to the United States were deposited in a section of a World War I torpedo factory in Alexandria, Virginia, which had been made into the temporary holding center for the World War II records of the American army and American theater commands. In accordance with the admonition to turn swords into plowshares, the building is now an artists' boutique.
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Malloy, Vanja V. "Women Artists and the Surrealist Movement in the United States and Mexico." Art History 36, no. 1 (January 17, 2013): 217–20. http://dx.doi.org/10.1111/j.1467-8365.2013.00945.x.
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Klassen, Teri. "Quilts: Conscience of the Human Spirit: The Life of Nelson Mandela: Tributes by Quilt Artists from South Africa and the United States (MacDowell and Mazloomi)." Museum Anthropology Review 11, no. 1-2 (May 23, 2017): 26–28. http://dx.doi.org/10.14434/mar.v11i1.23500.
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This work is a book review considering the title Quilts: Conscience of the Human Spirit: The Life of Nelson Mandela: Tributes by Quilt Artists from South Africa and the United States: A Collaborative Project of Michigan State University Museum, Women of Color Quilters Network, and South African Quilt Artists by Marsha MacDowell and Carolyn L. Mazloomi.
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Diamond, Sara. "Degrees of Freedom: Models of Corporate Relationships." Leonardo 38, no. 5 (October 2005): 409–13. http://dx.doi.org/10.1162/leon.2005.38.5.409.
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The author discusses three models of corporate partnership that support the creation of new-media art: directed altruism, skunk works (product development), and regulated self-interest. Similar activities can occur across these models, but expectations, criteria for assessment and final outcomes may differ. Clarifying the rules of engagement for arts organizations and artists when they work with corporations is critical to success for both artists and companies. This essay provides a framework and examples for each model from Canada, Finland, the United Kingdom and the United States. It evaluates failures as well as successes.
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Babin, Angela. "Health and Care of Performing Artists in Cuba." Medical Problems of Performing Artists 22, no. 2 (June 1, 2007): 74–79. http://dx.doi.org/10.21091/mppa.2007.2016.
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IN MARCH 2007, 15 health professionals and artists from the United States travelled to Cuba to learn firsthand about the Cuban healthcare system and also to see the Cuban approach to artists' health and safety. We went as part of a U.S.-licensed charter program with the goal of research exchange. This program offered us a view of the healthcare facilities and presentations with health professionals as well as rehearsals and performances by performing artists and performing arts students. We met the healthcare personnel who care for the artists and learned about techniques they use to mitigate health hazards to these artists. Thus, in our brief glimpse of Cuba, we were graciously hosted, entertained, and informed.
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Xie, Wenqian. "On Chinese feminist art from the perspective of globalization." BCP Education & Psychology 6 (August 25, 2022): 152–63. http://dx.doi.org/10.54691/bcpep.v6i.1784.
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In comparison with the expression of feminist art during the second wave of the feminism movement in the United States, Chinese feminist art embodies similar development paths but with different pursuits. Immigrant countries determine that feminist art in the United States has different aims on account of artists of different races and nationalities, such as black women discussing racial discrimination and immigration; European immigrants criticize patriarchy from the perspective of Western art history; and LGBT people are oppressed by society. However, Chinese feminist art also has its own unique artistic expression objects and goals in the development and evolution of feminist theory. Aiming at the prevalent problem of preference for boys over girls and gender inequality, Chinese female artists criticize the hidden gender discrimination in society in a particular way.
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Shandler, Jeffrey. "¿Dónde están los Judíos en la “Vida Americana?”: Art, Politics, and Identity on Exhibit." IMAGES 13, no. 1 (December 2, 2020): 144–56. http://dx.doi.org/10.1163/18718000-12340138.
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Abstract Vida Americana: Mexican Muralists Remake American Art, 1925–1945, an exhibition that opened at the Whitney Museum of American Art in February, 2020, proposed to remake art history by demonstrating the profound impact Mexican painters had on their counterparts in the United States, inspiring American artists “to use their art to protest economic, social, and racial injustices.” An unexamined part of this chapter of art history concerns the role of radical Jews, who constitute almost one half of the American artists whose work appears in the exhibition. Rooted in a distinct experience, as either immigrants or their American-born children, these Jewish artists had been making politically charged artworks well before the Mexican muralists’ arrival in the United States. Considering the role of left-wing Jews in this period of art-making would complicate the curatorial thesis of Vida Americana. Moreover, the exhibition’s lack of attention to Jews in creating and promoting this body of work raises questions about how the present cultural politics of race may have informed the analysis of this chapter of art history.
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Stapanian, J. R., Marilyn Rueschemeyer, Igor Golomshtok, and Janet Kennedy. "Soviet Emigre Artists: Life and Work in the USSR and the United States." Russian Review 45, no. 4 (October 1986): 438. http://dx.doi.org/10.2307/130482.
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Henry, Kathryn, Marilyn Rueschemeyer, Igor Golomshtok, and Janet Kennedy. "Soviet Emigre Artists: Life and Work in the USSR and the United States." Contemporary Sociology 15, no. 5 (September 1986): 726. http://dx.doi.org/10.2307/2071034.
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Bowlt, John E., Marilyn Rueschemeyer, Igor Golomshtok, and Janet Kennedy. "Soviet Émigré Artists: Life and Work in the USSR and the United States." Slavic and East European Journal 31, no. 1 (1987): 122. http://dx.doi.org/10.2307/307034.
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Riggins, Stephen Harold, Marilyn Rueschemeyer, Igor Golomshtok, and Janet Kennedy. "Soviet Emigré Artists: Life and Work in the USSR and the United States." Canadian Journal of Sociology / Cahiers canadiens de sociologie 13, no. 4 (1988): 455. http://dx.doi.org/10.2307/3340819.
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Ohnesorge, Karen. "Uneasy Terrain: Image, Text, Landscape, and Contemporary Indigenous Artists in the United States." American Indian Quarterly 32, no. 1 (2008): 43–69. http://dx.doi.org/10.1353/aiq.2008.0004.
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Cooper, Roger. "Colorization and Moral Rights: Should the United States Adopt Unified Protection for Artists?" Journalism Quarterly 68, no. 3 (September 1991): 465–73. http://dx.doi.org/10.1177/107769909106800317.
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Filer, Randall K. "The "Starving Artist"--Myth or Reality? Earnings of Artists in the United States." Journal of Political Economy 94, no. 1 (February 1986): 56–75. http://dx.doi.org/10.1086/261363.
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Reidy, David A. "Rawls and Racial Justice in the United States." Tocqueville Review 43, no. 1 (June 1, 2022): 69–87. http://dx.doi.org/10.3138/ttr.43.1.69.
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It has become increasingly common for students and scholars to criticize Rawls’s work as irrelevant, or worse, when it comes to issues of race and justice. Though he clearly judges both structural and systemic racial hierarchy and interpersonal racial disrespect to be non-controversially unjust, Rawls does not much explore, either in his ideal theory or in his non-ideal theory, issues at the intersection of race and justice. In this essay, drawing from both his texts and biography, I highlight some of Rawls’s thoughts on, and the seriousness with which he approached, these matters. Though I do not attempt to answer all the criticisms that have been raised regarding Rawls’s approach to issues of race and justice, I answer a few and to point the way toward resources that might prove fruitful in answering others. With respect to issues of race and justice, there are good reasons, better than critics typically acknowledge, to continue exploring the extent to which working from within a Rawlsian framework we can successfully think through our aspirational ideals and eliminate existing injustices.
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Boyer, Holly. "The Alert Collector: Hip Hop in the United States." Reference & User Services Quarterly 55, no. 3 (March 24, 2016): 215. http://dx.doi.org/10.5860/rusq.55n3.215.
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Hip hop is a ubiquitous part of American society in 2015—from Kanye West announcing his future presidential bid to discussions of feminism surrounding Nikki Minaj’s anatomy, to Kendrick Lamar’s concert with the National Symphony Orchestra, to Questlove leading the Tonight Show Band, hip hop has exerted its influence on American culture in every way and form.Hip hop’s origin in the early 1970s in the South Bronx of New York City is most often attributed to DJ Kool Herc and his desire to entertain at a party. In the 1980s, hip hop continued to gain popularity and speak about social issues faced by young African Americans. This started to change in the 1990s with the mainstream success of gangsta rap, where drugs, violence, and misogyny became more prominent, although artists who focused on social issues continued to create. The 2000s saw rap and hip hop cross genre boundaries, and innovative and alternative hip hop grew in popularity.
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Chen, Feng. "Performing race and remaking identity: Chinese visual artists in New York during the COVID-19 pandemic." Journal of Contemporary Chinese Art 9, no. 1 (July 1, 2022): 201–25. http://dx.doi.org/10.1386/jcca_00062_1.
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The mass shooting in Atlanta that killed eight people including six Asian women in March 2021 marked the new peak of the unceasing waves of anti-Asian violence since the outbreak of COVID-19 in the United States. In this context, this article examines how a group of Chinese visual artists in New York perform and remake their Asian identity on social media in response to a surge in hatred towards and violence against Asians in the United States following the outbreak of COVID-19. Based on my analysis of their visual rhetoric and media activism, I identify three approaches that this group of Chinese visual artists use to perform and remake their Asian identity. First, they performed their Asian identity by developing various visual rhetorics to combat and denounce anti-Asian discourse and hate crime. Second, their Asian identity emerged when they created new visual rhetoric to reimagine what it meant to be Asian in the United States. The new visual rhetoric enriched the understanding of Asian-ness and diversified the experiences of being Asian in the United States by overtly or subtly challenging Asian stereotypes as a product of the western imagination. Lastly, they claimed their Asian identity through seeking racial justice in a larger social context in collaboration with other racial minority groups.
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Nash, Margaret A. "A Means of Honorable Support: Art and Music in Women's Education in the Mid-Nineteenth Century." History of Education Quarterly 53, no. 1 (February 2013): 45–63. http://dx.doi.org/10.1111/hoeq.12002.
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“The value of the Art Education becomes more and more apparent as a means of honorable support and of high culture and enjoyment,” stated the catalog of Ingham University in western New York State in 1863. The Art Department there would prepare “pupils for Teachers and Practical Artists.” This statement reveals some of the vocational options for women that were concomitant with the increased popularity of music and art education in the middle decades of the nineteenth century in the United States. Practical vocational concerns, along with notions of refinement and respectable entertainment, all were aspects of the impetus for music and art education. Preparing young women for occupations, whether as teachers of art and music or as commercial artists or musicians, was a particularly prominent component of education for women in the mid-nineteenth-century United States.
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Zenkevich, I. V. "Archibald Cary Coolidge: A Promoter of Russian Studies in the United States." Язык и текст 3, no. 3 (2016): 78–85. http://dx.doi.org/10.17759/langt.2016030307.
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The article is dedicated to the contribution of Harvard professor Archibald Cary Coolidge and his students into the rise and development of Russian studies in American Universities. The author believes that it was due to their personal interest and enthusiasm that the Russian language began to be taught in the USA universities. The article provides information about Coolidge’s biography, his approach to teaching Russian, and his work aimed at popularizing Russian and introducing it into the American higher education curriculum.
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Griffiths, Jonathan. "Lives and works — biography and the law of copyright." Legal Studies 20, no. 4 (November 2000): 485–502. http://dx.doi.org/10.1111/j.1748-121x.2000.tb00156.x.
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In both the United Kingdom and the United States, there have been a substantial number of copyright disputes concerning the creation of biographical works. Prominent recent examples have involved J D Salinger and Sir Stephen Spender. In many such disputes, the claimant's motive for bringing infringement proceedings is not financial but ‘personal’— for example, to protect privacy or reputation. In this article, it is argued that, when copyright is employed for such motives, inconsistent results can arise. In particular, in such cases, it is demonstrated that the possession of a copyright interest is capable of providing a number of apparently inequitable advantages to claimants whose privacy or reputation is threatened.
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Guerini, Andréia, Antonia de Jesus Sales, and Odile Cisneros. "Clarice Lispector’s translators in the United States." Revista Brasileira de Literatura Comparada 24, no. 47 (December 2022): 85–104. http://dx.doi.org/10.1590/2596-304x20222447agajsoc.
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ABSTRACT Clarice Lispector’s entry as an author into the United States happens at different moments, beginning in the 1950s, with the translation of several short stories, carried out among others by Elizabeth Bishop, culminating with a biography of the author written in English by Benjamin Moser in 2009, and a little later, with the publication of the short stories and other pieces, in the emblematic edition entitled The Complete Stories, in 2015, edited by Benjamin Moser and translated by Katrina Dodson. These publications put the translators in the spotlight, as they were responsible for renewing Clarice’s presence on American soil. This paper aims to research the translators of Clarice Lispector’s works in the English-speaking cultural system, considering only the American context. The aim is to highlight these professional figures who contributed to the dissemination of this important Brazilian writer abroad, analyze their profile, and also examine their presence and imprint on some of the translations performed, such as prefaces, postscripts, notes, etc., assessing the degree of visibility and invisibility (Venuti 2021). By considering the relevance of translators as social actors/dialogical bodies (Robinson, 1991, 2012) and as “translating subjects” (Berman, 1995) and the fact that English translations of Clarice’s works have influenced and stimulated the circulation of this author in other literary systems, by examining the biobibliographical profile, verifying its presence or not in the paratexts (Genette, 2009/Batchelor, 2018) of Clarice Lispector’s English-language translators and their translation position, as well as their project and horizon (Berman, 1995), we gain an understanding of the translation policies of a given cultural polysystem.
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Yoffee, Norman. "Robert McCormick Adams: An Archaeological Biography." American Antiquity 62, no. 3 (July 1997): 399–413. http://dx.doi.org/10.2307/282162.
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Robert Adams celebrated his 70th birthday on July 23, 1996. Forty years ago American Antiquity published his first journal article, which helped launch a remarkable career. Adams has influenced not only fundamental aspects of social evolutionary theory and archaeological reconnaissance surveys but also the structure of support for science in the United States and abroad. At the 1996 meetings of the Society for American Archaeology, Adams was awarded the Distinguished Service Medal. This essay traces the intellectual influences on Adams, the progress of his fieldwork, and the exposition and development of his ideas in his monographs and major essays. The significance of his work is assessed, and a bibliography of his principal archaeological writings is included.
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Chapman, Dasha A., and Mario LaMothe. "Afro-Feminist Performance Routes: Documenting Embodied Dialogue and AfroFem Articulations." Dance Research Journal 53, no. 2 (August 2021): 8–26. http://dx.doi.org/10.1017/s0149767721000255.
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AbstractThis conversation emerges from the Afro-Feminist Performance Routes's biennial gatherings at Duke University that have taken place since 2016. Hinging on the work of Lēnablou (Guadeloupe), Rujeko Dumbutshena (Zimbabwe, United States), Sephora Germain (Haiti), Yanique Hume (Jamaica, Cuba, Barbados), Jessi Knight (United States), Halifu Osumare (United States), Luciane Ramos-Silva (Brazil), and Jade Power Sotomayor (Puerto Rico, United States), the focused residency has nurtured embodied dialogues centered on African-derived dance practices and gender, femininity, womanhood, femme, and feminisms. What follows is a scripted simulation of conversations generated in roundtables, workshops, performances, and interviews, as well as around dinner tables and during late-night chats. We've woven together the artists’ statements under two umbrella themes—embodied philosophies and contours of diaspora—in order to highlight the relationship between creative practice and lived experience, between singularity and collective, between precarity and the everyday, between AfroFem and becoming.
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Adams, Elise B., and Frank Marini. ""The back of the tapestry": Social Action Art and Public Policy." Public Voices 2, no. 2 (April 11, 2017): 7. http://dx.doi.org/10.22140/pv.404.
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Art can be a potent force for political change, sometimes supporting and sometimes challenging established social institutions and ideology. The works of two contemporary artists a photographer, Kira Corser, and a poet, Frances Payne Adler address the need for public policy change in a number of controversial areas. In travelling exhibits and in their books, these artists attempt to awaken the public and public policy makers in the United States to the plight of the homeless, to the disastrous effects of drug addiction, and to the need for improved health care. By appealing to the emotions as well as to reason, the art of social action artists such as Adler and Corser has tremendous potential for effecting social change.
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Introvigne, Massimo. "“Theosophical” Artistic Networks in the Americas, 1920–1950." Nova Religio 19, no. 4 (May 1, 2016): 33–56. http://dx.doi.org/10.1525/nr.2016.19.4.33.
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Latin American scholars have discussed interbellum “Theosophical networks” interested in new forms of spirituality as alternatives to Catholicism, positivism and Marxism. In this article I argue that these networks included not only progressive intellectuals and political activists but also artists in Latin America, the United States and Canada, and that their interests in alternative spirituality contributed significantly to certain artistic currents. I discuss three central locations for these networks, in part involving the same artists: revolutionary Mexico in the 1920s; New York in the late 1920s and 1930s; and New Mexico in the late 1930s and 1940s. The Theosophical Society, the Delphic Society, Agni Yoga and various Rosicrucian organizations attracted several leading American artists involved in the networks.
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Campbell, Courtney. "THE NORTHEAST PLAYS FOOTBALL, TOO: WORLD CUP SOCCER AND REGIONAL IDENTITY IN THE BRAZILIAN NORTHEAST." Estudos Históricos (Rio de Janeiro) 32, no. 68 (December 2019): 720–43. http://dx.doi.org/10.1590/s2178-149420190003000009.
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ABSTRACT This article examines how ideas about northeastern regional identity circulated in discussions of World Cup football. It first presents the preparations of and discussion around the 1950 World Cup match between Chile and the United States in Recife. Then, it analyzes attention given to World Cup football by regionalist intellectuals and artists, including musicians, clay artists, poets, and authors of cordel literature. This analysis shows that World Cup football provided a space within which the terms of regional (and national) identity were contested and debated, emphasizing the multivalence of regional discourse.
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Greengard, Stephen Neil, Ellen Sragow, Gustave von Groschwitz, Jerry Roth, Riva Helfond, Harold Lehman, Minna Citron, and Harry Gottlieb. "Ten Crucial Years: The Development of United States Government Sponsored Artists Programs 1933-1943 A Panel Discussion by Six WPA Artists." Journal of Decorative and Propaganda Arts 1 (1986): 40. http://dx.doi.org/10.2307/1503903.
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Gramer, Jennifer. "“Monuments of German Baseness”? Confiscated Nazi war art and American occupation in the United States and postwar Germany." International Journal of Cultural Property 28, no. 3 (August 2021): 425–46. http://dx.doi.org/10.1017/s094073912100031x.
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AbstractUnder the postwar American occupation of Germany, art produced by the Staffel der bildenden Künstler (German Combat Artist Unit) of Nazi Germany was sent to US military sites for storage under the direction of Captain Gordon Gilkey. Gilkey was head of the German War Art Project, the arm of the Historical Division of the US army tasked with confiscating German “propaganda and war art.” This art, considered a dangerous instrument of Nazi revival, was not protected by laws prohibiting art looting. Yet American officers were sympathetic to many of the paintings created by combat artists, and the German combat artists themselves were torn about their roles in Nazism, perceiving themselves as either victims or survivors merely attempting to make a living. This article traces the history of this artwork from its seizure in postwar Germany through its internment in the United States up to later attempts in the 1950s and 1980s to restitute the works to their creators.
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Kernkamp, Ruby Clementine. "Embodied Memory and Alternative Futures." TDR: The Drama Review 65, no. 3 (September 2021): 157–62. http://dx.doi.org/10.1017/s1054204321000381.
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Through the Peace Ride, the Compton Cowboys, as activists and performance artists within the Black Lives Matter movement, materialized the long legacy of Black men and women riders in the United States. These protest bodies on horseback imagine alternative futures for Black communities through embodied memory and a rewriting of the archive.
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Lemay, Kate Clarke. "Politics in the Art of War: The American War Cemeteries." International Journal of Military History and Historiography 38, no. 2 (October 20, 2018): 223–54. http://dx.doi.org/10.1163/24683302-03802005.
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The overseas American war cemeteries, in their aim to achieve “soft power” or cultural diplomacy during the mid-century, created high-value commissions in the American art world. The sought-after commissions resulted in an internal struggle between artists practicing traditional figural Classicism and the avant-garde who had adopted expressionism and abstraction. Additionally, a surging political stream of anti-Communism made artists vulnerable, because modern art seemed to underscore Communism’s abandonment of religion. By adopting demagoguery as political strategy, McCarthyists escalated the perception of Communism as present in the United States by targeting American culture, including artists of the American war cemeteries. Describing the struggles surrounding the creation of the cemeteries, this essay takes into account the artists’ biographies, statements, and actions, arguing that their art-making was not only critical in creating international diplomacy, but also in sustaining American freedom, particularly within an era of American political suspicion.
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Jackson, Michael D. "Between Biography and Ethnography." Harvard Theological Review 101, no. 3-4 (October 2008): 377–97. http://dx.doi.org/10.1017/s0017816008001910.
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My point of departure in this essay is Davíd Carrasco's Convocation Address at the Harvard Divinity School in September 2006. Speaking of the borderlands between Mexico and the United States, Carrasco projects an image of a vexed and ambiguous zone that is not merely geographic or political; it defines an existential situation of being betwixt and between, of struggle and suffering, that Karl Jaspers sums up in the term Grenzsituationen (borders/limit situations). The frontier throws up images of borderline experiences, of a destabilized and transgressive consciousness in which “dreams, repressed memories, psychological transferences and associations” possess greater presence than they do in ordinary waking life, and religious experiences emerge from the unconscious like apparitions. This interplay between borderlands and borderline phenomena—between “the differences we have with others and the conflicts within ourselves” also finds expression in the work of Gloria Anzaldúa. “Mestiza consciousness,” she observes, may be identified with a “juncture … where phenomena collide.” This implies “a shock culture, a border culture, a third country” where migrants find themselves at the limits of what they can endure, border patrol agents are stretched beyond the limits of what they can control, and intellectuals find that orthodox ways of describing and analyzing the world do not do justice to the experiences involved.
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Murphy, John W., Steven L. Arxer, and Linda L. Belgrave. "The Life Course Metaphor: Implications for Biography and Interpretive Research." Qualitative Sociology Review 6, no. 1 (December 27, 2021): 4–15. http://dx.doi.org/10.18778/1733-8077.6.1.02.
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This paper reviews qualitative research in the United States, highlighting the ways research has changed in the era of the third age. With growing attention to positive and uplifting aspects of aging, qualitative research has played a critical role in the exploration of the ways in which older adults are engaging in meaningful ways with others. We describe two key methodological approaches that have been important to examining positive aspects of aging and exploring the extent to which a growing number of years of healthy retirement are redefining the aging experience: ethnographic research and grounded theory research. We also review key topics associated with qualitative research in the era of the third age. These topics fit within two dominant frameworks – research exploring meaningmaking in later life and research exploring meaningful engagement in later life. These frameworks were critically important to raising attention to meaningful experiences and interactions with others, and we propose that the agenda for future qualitative research in the United States should continue contributing to these frameworks. However, we note that a third framework should also be developed which examines what it means to be a third age through use of a phenomenological approach, which will assist in the important task of theory building about the third age.
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Dils, Ann H., Susan W. Stinson, and Doug Risner. "Teaching Research and Writing to Dance Artists and Educators." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 151–65. http://dx.doi.org/10.1017/s2049125500001047.
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The authors describe a model for teaching research and writing to graduate students in dance that they have been implementing and refining for the past five years. The model entwines scholarship, teaching, and artistry. Dils and Stinson reflect on two issues that arise from their teaching: embodiment as it relates to dance research and to online learning and maintaining high expectations for critical and reflective thinking in light of the developmental levels of students. Risner's survey on graduate dance programs in the United States is referred to within the presentation, including a brief excerpt from qualitative responses.