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Books on the topic 'Engagement des artistes'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Rotermund, Erwin. Artistik und Engagement: Aufsätze zur deutschen Literatur. Königshausen & Neumann, 1994.

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2

Adrian, Hope. Letters of engagement, 1884-1888: The love letters. Tite Street Press, 2000.

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3

Hope, Adrian. Letters of engagement, 1884-1888: The love letters of Adrian Hope and Laura Troubridge. Tite Street Press, 2002.

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4

Blindheit und Hellsichtigkeit: Künstlerkritik an Politik und Gesellschaft der Gegenwart. De Gruyter, 2014.

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5

Susan, Landauer, and San Jose Museum of Art., eds. Art of engagement: Visual politics in California and beyond. University of California Press, 2005.

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6

Selz, Peter Howard. Art of engagement: Visual politics in California and beyond. University of California Press, 2005.

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7

Selz, Peter Howard. Art of engagement: Visual politics in California and beyond. University of California Press, 2006.

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8

Cameron, Julia. The Artist's Way Engagement Calendar. Chronicle Books, 2001.

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9

Gillick, Liam. Industry and Intelligence. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231170208.001.0001.

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The history of modern art is often told through aesthetic breakthroughs that sync well with cultural and political change. From Courbet to Picasso, from Malevich to Warhol, it is accepted that art tracks the disruptions of industrialization, fascism, revolution, and war. Yet filtering the history of modern art only through catastrophic events cannot account for the subtle developments that lead to the profound confusion at the heart of contemporary art. In Industry and Intelligence, the artist Liam Gillick writes a nuanced genealogy to help us appreciate contemporary art’s engagement with hist

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10

Smilde, Rineke. Community Engagement and Lifelong Learning. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.32.

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This chapter discusses the relationship of community engagement through music and the concept of lifelong learning, which is a dynamic concept of learning that enables us to respond to change. Underpinning the work of community musicians is the notion that artistic processes can have transformative potential that can bring about a sense of community, inclusion, and collective identity. Three case studies of community engagement will be explored with different aims and points of departure but with shared values and approaches, comprising important aspects of the concept of lifelong learning. Ou

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11

Conversation Pieces: Community and Communication in Modern Art. University of California Press, 2004.

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12

Conversation Pieces: Community and Communication in Modern Art. University of California Press, 2004.

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13

Hardt, Yvonne. Engagements with the Past in Contemporary Dance. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036767.003.0014.

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For a long time, what has been considered “avant-garde” embodied the “new” and was perceived as different from those dance forms considered traditional, historical, or marked by ethnic inheritance. This chapter traces how contemporary dance performances and dance historical writing have challenged these demarcations as one detects a remarkable trend toward evoking the past in contemporary dance. Numerous artists and festivals increasingly feature works that address the past, having discovered the potential for a self-reflexivity of dance in conversation with its history. From this larger group

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14

This Modern Romance: The Artistry, Technique, and Business of Engagement Photography. Taylor & Francis Group, 2013.

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15

Williams, Stephanie. This Modern Romance: The Artistry, Technique, and Business of Engagement Photography. Routledge, 2013. http://dx.doi.org/10.4324/9780203514955.

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16

Sartre, Jean Paul. Situations, tome 2 : Littérature et engagement. Gallimard, 1999.

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17

Developing Civic Engagement in Urban Public Art Programs. Rowman & Littlefield Publishers, 2015.

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18

Rasula, Jed. Acrobatic Modernism from the Avant-Garde to Prehistory. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198833949.001.0001.

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This is a book about artistic modernism contending with the historical transfigurations of modernity. As a conscientious engagement with modernity’s restructuring of the lifeworld, the modernist avant-garde raised the stakes of this engagement to programmatic explicitness. But even beyond the vanguard, the global phenomenon of jazz combined somatic assault with sensory tutelage. Jazz, like the new technologies of modernity, recalibrated sensory ratios. The criterion of the new as self-making also extended to names: pseudonyms and heteronyms. The protocols of modernism solicited a pragmatic aro

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19

Dialogue in Artistic Practice: Case Studies from Animating Democracy (Art & Civic Engagement). Arts, 2005.

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20

Oksman, Tahneer, and Seamus O'Malley, eds. The Comics of Julie Doucet and Gabrielle Bell. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496820570.001.0001.

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Julie Doucet, who started publishing in the late 1980s, is a cartoonist and artist best known for her semi-auto biographical works, as depicted in her Dirty Plotte series as well as My New York Diary. Coming into her own in the late 1990s, when she first started self-publishing her comics, Gabrielle Bell rose to prominence with her 2009 book of short story comics, Cecil and Jordan in New York, as well as her diary comics, which have been recurrently collected in full-length books. While each artist has a unique perspective, style, and world view, the essays in this book investigate these artis

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21

Pouillaude, Frédéric. Section 2. Translated by Anna Pakes. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199314645.003.0018.

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The first feature of the transformation described above consists in the dissolution of stable companies. Temporary and local coalitions took the place of stable teams of salaried collaborators (what used to be called “companies). These coalitions brought together around a defined project a group of individuals with their own independent artistic careers. The coalition model is both liberal and libertarian, in linking labor to the temporary mission and the circumscribed consent of the participants. Yet its presence in dance is not merely a response to economic pressures, as the dissolution of M

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22

Tymieniecka, Anna-Teresa. Virtues and Passions in Literature: Excellence, Courage, Engagements, Wisdom, Fulfilment. Springer, 2010.

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23

Anna-Teresa, Tymieniecka, ed. Virtues and passions in literature: Excellence, courage, engagements, wisdom, fulfilment. Springer, 2007.

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24

Avilez, GerShun. Black Queer Freedom. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043376.001.0001.

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In this book, GerShun Avilez argues that queerness, here meaning same-sex desire and gender nonconformity, introduces the threat of injury and that artists throughout the Black diaspora use queer desire to negotiate spaces of injury. The space of injury does not necessarily pertain to a particular architecture or location; it concerns the perception and engagement of a body. Black queer bodies are perceived as social threats, and this perception results in threats (physical, psychological, socioeconomic) against these bodies. The space of injury describes the potential threat to queer bodies t

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25

Karl Barth and Hans Urs von Balthasar: A Critical Engagement. T. & T. Clark Publishers, 2007.

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26

Evangelista, Stefano. Cosmopolitan Classicism. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198789260.003.0013.

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Oscar Wilde associated ancient Greece and modern France as the homelands of artistic autonomy and personal freedom. France and the French language were crucial in his adoption of a cosmopolitan identity in which his close emotional and intellectual engagement with the ancient world also played a key role. His practices of classical reception therefore have roots in the French as well as English traditions. Wilde’s attitude towards ancient Greece initially shows the influence of French Parnassian poetry. As time goes on, however, he starts to engage with the new images of the ancient world prom

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27

Vogan, Travis. The Shakespeares of Sports Films. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038389.003.0005.

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This chapter examines how NFL Films' engagements with aesthetic traditions, the discourses surrounding the company, and its selective incorporation of positive critical reception into its publicity materials separate the organization from other sports media outlets and, by extension, distinguish the National Football League (NFL) from competing sports organizations. Throughout its history, NFL Films has taken great pains to emphasize its distinction within sports media and in the broader contexts of art and media culture. The company places its productions in dialogue with established aestheti

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28

Perillo, J. Lorenzo. Choreographing in Color. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190054274.001.0001.

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In Choreographing in Color, J. Lorenzo Perillo investigates the development of Filipino popular dance and performance since the late 20th century. Drawing from nearly two decades of ethnography, choreographic analysis, and community engagement with artists, choreographers, and organizers, Perillo asserts the importance in shifting attention away from the predominant Philippine neoliberal and US imperialist emphasis on Filipinos as superb mimics, heroic migrants, model minorities, and natural dancers, and instead asks: what does it mean for Filipinos to navigate the violent forces of empire and

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29

Goulding, Anna, Bruce Davenport, and Andrew Newman, eds. Resilience and Ageing. Policy Press, 2018. http://dx.doi.org/10.1332/policypress/9781447340911.001.0001.

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Resilience is an area of growing interest within critical gerontology and policy agendas. This book critically reflects on ways in which cultural engagement can develop social connectivity and improve resilience for older people, and how the built environment, community living, cultural participation, lifelong learning, and artist-led interventions can all help people to thrive in older age. The book is a multidisciplinary collection examining how cultural engagement can enhance resilience, reduce social isolation and help older people to thrive and overcome challenging life events and everyda

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30

Giersdorf, Jens. Is It OK to Dance on Graves? Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.7.

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Catalyzed by Boris Charmatz’s restaging of his 2012–2013 choreography 20 Dancers for the XX Century in June 2014 at the Soviet War Memorial in Berlin, this chapter investigates the complex relationship between modernism and socialist realism in choreography. Concepts like socialism, capitalism, and modernity are not static entities. As discursive models, they rely on other historically determined discourses that accompany them. Modernity and its related concept of modernism require a counterpart against which to be defined. For decades, socialism and socialist realist artistic productions that

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31

Görner, Rüdiger. Friedrich Hölderlin’s Romantic Classicism. Edited by Paul Hamilton. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199696383.013.15.

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Hölderlin’s emphasis on the interrelatedness of genres and forms of artistic expression brings him close to early Romantic aesthetics as developed by Friedrich Schlegel, Ludwig Tieck, and Novalis. At the same time, Hölderlin engaged in a particular quest for ‘purity’ of expression modelled on what were perceived, since Johann Joachim Winckelmann’sHistory of Ancient Art(1764), as the Greek principles of artistic production. This engagement in attaining, in Winckelmann’s proverbial phrase, ‘noble simplicity and quiet grandeur’ brought Hölderlin closer to the ambition of Weimar Classicism. If one

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32

Steichen, James. 1934–1935. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190607418.003.0004.

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This chapter examines the March 1935 performances of the American Ballet at the Adelphi Theater in New York City, the official premiere of the company and its new repertoire. Preparations for the engagement revealed ongoing disagreement about the direction of the enterprise, and the performances met with a mixed reception. The engagement was an occasion for Kirstein and others to debate the goals and mission of the organization, and dance critic John Martin was one of many critical voices contributing to debate on their efforts. The American Ballet’s activities were in part a response to the R

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33

Möller, Frank. Politics and Art. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199935307.013.13.

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Art can be understood as a form of political discourse; as a descriptive, an interpretive, or an explicitly critical approximation; or as a vehicle with which to transcend the political. Art complicates our understandings and perceptions of the world, altering the discursive frames within which the political is negotiated. Research on politics and art explores art’s engagement with politics and its vision of the world; it analyzes art’s contribution to both our understanding of politics and problem solving. Current research also explores art’s critical and emancipatory potentialities, as well

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34

Dirksen, Rebecca. After the Dance, the Drums Are Heavy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190928056.001.0001.

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Haitian carnival offers a lens into popular power and politics. Political demonstrations in Haiti often manifest as musical performances. Studying carnival and political protest side by side brings insight to the musical engagement that ordinary citizens and celebrity musicians often cultivate and revere in contemporary Haiti. This book explores how the self-declared president of konpa Sweet Micky (Michel Martelly) rose to the nation’s highest office while methodically crafting a political product inherently entangled with his musical product. It provides deep historical perspective on the cha

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35

Rohman, Carrie. Afterword. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190604400.003.0007.

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The afterword reiterates it is time to risk a border-crossing in our view of art and see it as part of our shared affective becoming-excessive, as a fundamentally non-cognitive zone of self-othering that all animals engage, not just human animals. Art connects us profoundly to other creatures. The aesthetic capacity is animal; it doesn’t just approach animals or hold them in its purview. And if this is the case, then we can anticipate wholly new ways of viewing, inhabiting, and understanding artistic practices. The transporting power of art, the becoming-intense of aesthetics, the felt vibrati

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36

Hilliard, Christopher. Conclusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198799658.003.0014.

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The conclusion summarizes key points about the crime of libel, working-class literacy, and social values, and then reflects on the purpose and ambitions of microhistories such as this one. Reconstructing in detail episodes in the lives of people who were sociologically unremarkable but underwent remarkable experiences, microhistories attempt to highlight unnoticed possibilities and previously unremarked kinds of agency. Cultural historians have sought to take ordinary people’s reading and writing seriously, leading to a more encompassing conception of culture: but this body of scholarship stil

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37

(Editor), Ron Sakolsky, and Fred Ho (Editor), eds. Sounding Off!: Music as Resistance / Rebellion / Revolution. Autonomedia, 1996.

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38

Roust, Colin. Georges Auric. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190607777.001.0001.

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Although Georges Auric (1899–1983) is best remembered today for his affiliation with the Groupe des Six, his musical career was long, productive, complex, and intimately attuned to the realities of modern life. His polyvalent career—as a composer of concert, theatrical, ballet, popular, film, and television music; music critic; opera director; and arts administrator—reveals a diversity of engagements that speak to a reconfiguration of the role of the composer in the modern world. Auric was a product of his time, with deep connections to France’s artistic, social, and political elites. At the s

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39

Huang, Alexa. ‘It is the East’. Edited by Michael Neill and David Schalkwyk. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198724193.013.54.

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Shakespearean tragedies have played an important part in modern and contemporary East Asian engagements with Western cultures. Japanese, Korean, Chinese, and Singaporean translations, rewritings, films, and theatre productions have three important shared characteristics, namely hybridization of genres, intra-regional and trans-historical allusions, and spirituality. These adaptations tend to present the plays in hybrid performative genres, sometimes turning tragedy into comedy or parody. These adaptations are also informed by intra-regional borrowing and allusions that matter to each separate

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40

Fiddian, Robin. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794714.003.0009.

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Writing in 1924 in his adopted homeland of Argentina, Pedro Henríquez Ureña envisaged an uplifting and a hospitable role for the Americas in a world of change and promise. That very year, Borges was observing the centenary of the Battle of Junín, fought in the Andes on 6 August 1824, and conceiving an ambitious plan to reinvent Argentine culture. This Introduction explores links between Latin American Studies and Postcolonial Studies and situates Borges in relation to the two. It surveys the key terms, ‘coloniality’, ‘Occidentalism’, and ‘post-Occidentalism’, noting their Latin American pedigr

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41

Friedlander, Jennifer. The Realistically Deceptive, or the Deceptively Real? Ron Mueck and the Internal Illusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190676124.003.0002.

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This chapter explores the hyperrealist, yet eerily distorted, sculptural figures created by Australian artist Ron Mueck. It argues that Mueck’s use of scale to disrupt the impression of perfected reality lures spectators into an illusion which challenges them to question the symbolic system’s guarantee that fiction and reality can be unequivocally adjudicated. An engagement with his work in relationship to other art and media pieces (in particular, the 2007 film Lars and the Real Girl; the stand-up comedy of New Zealand duo Flight of the Conchords; the BBC sitcom Love Soup; and Mark Jenkins’s

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42

Günther, Christoph, and Simone Pfeifer, eds. Jihadi Audiovisuality and its Entanglements. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474467513.001.0001.

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This volume situates jihadi audio-visual media within a global communicative web, and provides perspectives that relate the production and dissemination of jihadi images and sound to various forms of engagement and appropriation. Through 12 case studies, this book examines the different ways in which Jihadi groups and their supporters use visualisation, sound production and aesthetic means to articulate their cause in online as well as offline contexts and how different actors relate to these media. Divided into four thematic sections, the chapters probe Jihadi appropriation of traditional and

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43

Murphet, Julian. Faulkner's Media Romance. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190664244.001.0001.

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This book reassesses William Faulkner’s engagement with modern media technologies and transportation systems. It argues that Faulkner’s inveterate interest in figures of flight, automobiles, radio, phonographs, photographs, and other modern techno-media was secretly motivated by a profound and ongoing aesthetic tug of war in his writing. He resolved this tension between artistic modernism and the vanished worlds of antebellum romance by a recourse to tropes borrowed from the modern media system. These tropes masked his investment in romance materials, giving it a modern overlay, and allowed hi

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44

Heine, Steven. Tones. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190637491.003.0008.

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Chapter 8 uses the multifaceted term “tones” to explain the expressive role of texts that were produced as part of a growing publication industry to record and circulate various sermons in prose and verse that reflected a master’s awakened state of mind beyond logical thinking. This section also explains the importance of nuanced ink tones for the creation of sparse, monochromatic calligraphy and painting that reveals the interior depths of enlightened engagement with all forms of human and natural existence. Advances in literary and visual arts greatly contributed to the success of maritime t

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45

Parr, Connal. Words as Weapons. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198791591.003.0002.

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‘Culture wars’ in Northern Ireland are literary and rest upon the misperception—and political claim—that Ulster Protestants lack a culture aside from Orangeism. Unionist politicians and Republican writers have accordingly cultivated the myth that Ulster Protestants lack literary heritage and have never been involved in the theatre. The community has internalized a post-conflict ‘defeatism’ and a conviction that it has produced little or nothing of artistic merit. This has been fortified by the individualist, splintered nature of the Protestant community as opposed to the more cohesive and comm

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46

Cox, Fiona. Jane Alison. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198779889.003.0012.

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Jane Alison’s fascination with Ovid was apparent with the publication of her first book, The Love Artist—a vivid portrayal of Ovid’s exile and the woman who bewitched him. Alison’s lifelong engagement with Ovid has seen a recent translation of selected extracts from the Amores and the Metamorphoses, especially. Like Pollard, Alison employs turns of phrase that bring Ovid directly into the contemporary world and remind us of how powerfully he has spoken of the pleasures, hurts, and anxieties that have been a part of female experience from generation to generation. Furthermore, by looking back f

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47

Keeling, Kara. Queer Times, Black Futures. NYU Press, 2019. http://dx.doi.org/10.18574/nyu/9780814748329.001.0001.

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Contestations over “the future” and “futurity” have been central to formulations of time throughout the twentieth century and into the twenty-first. Queer Times, Black Futures considers the implications of scholarly, artistic, and popular investments in the promises and pitfalls of imagination, technology, futurity, and liberation that have persisted in Euro-American culture. Of specific interest are those Afrofuturist cultural forms and logics through which creative engagements with Black existence, technology, space, and time might be accessed and analyzed.Punctuated throughout by meditation

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48

Watson, Jay, Jaime Harker, and James G. Jr Thomas, eds. Faulkner and Print Culture. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496812308.001.0001.

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William Faulkner’s first ventures into print culture began far from the world of highbrow publishing with which he is typically associated—the world of New York publishing houses, little magazines, and literary prizes—though they would come to encompass that world as well. This collection explores Faulkner’s multifaceted engagements, as writer and reader, with the US and international print cultures of his era, along with the ways in which these cultures have mediated his relationship with a variety of twentieth- and twenty-first-century audiences. The essays gathered here address the place of

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49

Solga, Kim. Shakespeare’s Property Ladder. Edited by James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.42.

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Shakespeare ‘owners’ in the British cultural marketplace have long been the powerful male actors, artistic directors, and theatre reviewers who function as arbiters of ‘good’ acting, directing, and interpretation of Shakespeare. This chapter excavates the conservative political framework that has historically limited the experiences of women directing Shakespeare in the UK. How does an unspoken but deeply entrenched and gendered sense of who knows Shakespeare well enough to advocate on ‘His’ behalf determine what opportunities do, or do not, come women’s way? What does that powerful sense of k

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Lepore, Ernie, and Matthew Stone. Pejorative Tone. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198758655.003.0007.

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The view put forward in this chapter about slur terms is that their interpretations require expansive, open-ended engagement with an utterance and its linguistic meaning, through a host of distinctive kinds of reasoning. This reasoning may include inferences about the speaker’s psychology and her intentions—in light of the full social and historical context—but it may involve approaching the utterance through strategies for imaginative elaboration and emotional attunement, as required, for example, for metaphor, poetic diction, irony, sarcasm, and humor. In the face of their heterogeneity and

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