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1
Larasati, Balai Lelang. Indo European, modern masters & established artists of Southeast Asia. Larasati, 2011.
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Photoshop: Inspiring artwork and tutorials by established and emerging artists. Peachpit Press, 2013.
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Burr, Sherri. Entertainment law: Cases and materials in established and emerging media. West, 2011.
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Burr, Sherri. Entertainment law: Cases and materials in established and emerging media. West, 2011.
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Burr, Sherri. Entertainment law: Cases and materials in established and emerging media. West, 2011.
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Pagliaro, Annamaria, and Brian Zuccala, eds. Luigi Capuana: Experimental Fiction and Cultural Mediation in Post-Risorgimento Italy. Firenze University Press, 2019. http://dx.doi.org/10.36253/978-88-6453-916-4.
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Luigi Capuana: Experimental Fiction and Cultural Mediation in Post-Risorgimento Italy. The studies in this collection revisit established critical positions which confine Luigi Capuana’s work within the orbits of Naturalism and Positivism. A variety of theoretical readings in the volume investigate how the author’s experimentalism and eclectic interests respond to positivist ideology, the limitations of scientific practices, and the conflicts and anxieties of the fin de siècle which arise from a change in intellectual attitudes towards new ways of interpreting reality. The volume’s three sections focus on cultural mediation and the construction of socio-literary identities, gender representation and metaliterature, and on the author’s experimentation with the natural, supernatural and fantastic. Each section illustrates how the search for the new and experimentalism constitute driving forces in the author’s artistic investigation and production, making his work an important source for a new reading of the fin de siècle’s epistemological revision.
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Mishory, Alec. Artists’ Colonies in Israel. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190912628.003.0009.
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This chapter discusses the history of artists’ colonies in Israel. An artists’ colony is a physical site where artists are expected to work collectively, inspiring and influencing each other’s creative process. Artists’ colonies were in existence in Europe from the beginning of the nineteenth century. In Israel, such colonies were established during the first decade following independence. The first was a colony located in Safed, followed by Ein Hod and a colony in the old section of Jaffa. The establishment of artists’ colonies in Israel can be attributed to three figures: Marcel Jancu, Moshe Castel, and Itche Mambush. The chapter provides an overview of the artists’ colonies of Safed, Ein Hod, and Old Jaffa and examines why the various attempts to establish artists’ colonies in Israel did not fulfill their visionary manifestos.
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Adobe Master Class: Illustrator Inspiring artwork and tutorials by established and emerging artists. Adobe Press, 2013.
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Gover, K. E. The Artist and the Institution. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198768692.003.0004.
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This chapter analyzes the lawsuit between the Massachusetts Museum of Contemporary Art (Mass MoCA) and Christoph Büchel in terms of my dual-intention theory of authorship. The Mass MoCA case represents a significant challenge to the widespread art world intuition that the creative freedom of the artist should be given virtually absolute precedence in decisions about the creation, exhibition, and treatment of artworks. The chapter argues that this view is incorrect: respect for the artist’s moral rights does not require deferring to the artist’s wishes in every case. It shows that the distinction between artifactual ownership and artistic ownership that underlies the notion of artistic moral rights also serves to establish limits on those rights.
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van Haaften-Schick, Lauren. Conceptualizing Artists’ Rights. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199935352.013.27.
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The Artist’s Reserved Rights Transfer and Sale Agreement (Siegelaub-Projansky Agreement) of 1971 and the certificates of early Conceptual art have been considered contradictory for enabling so-called “dematerialized” artworks to be exchanged as any other commodifiable work, thus negating Conceptual artists’ claims of challenging market and institutional conventions. However, an expanded lens on the life of the Siegelaub-Projansky Agreement in law yields another legacy for these endeavors, where the Agreement is instead evidenced as influencing artists’ rights laws in the United States, and where its rhetoric of collectivity can be viewed as a radical appropriation of private law in an effort to establish more equitable art industry norms. This reclaimed narrative of political influence emerges only when we recognize the capacity of these artistic documents as legal instruments, and consider how they have circulated through and challenged the limits of both fields they are cross-classified between: art and law.
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Shen, Kuiyi. Shaping the “Red Classics” of Chinese Art in Early Socialist China. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888390892.003.0005.
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Traditional Chinese art was tied closely to the ruling elites of imperial China and therefore presented a particular challenge to the new communist regime seeking to establish a new proletarian culture in the 1950s. This chapter throws light on the way established traditional painters and artists were managed and their art reshaped through the application of principles set down in the Yan’an Talks and a deliberate “modernization” of traditional Chinese painting. It argues that in the case of guohua the tension between old forms and new content was not just resolved but led to invigoration and innovation in the field and produced some of the greatest public artworks of the Maoist period
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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 arousal of bodily sensation as artistic resource, validating an acrobatic sensibility ranging from slapstick and laughter to the pathos of bereavement. Expressivity trumped representation. The artwork was a diagram of perception, not a mimetic rendering. For artists, the historical pressures of altered perception provoked new models, and Ezra Pound’s slogan “Make It New” became the generic rallying cry of renovation. The paradigmatic stance of the avant-garde was established by Futurism, but the discovery of prehistoric art added another provocation to artists. Paleolithic caves validated the spirit of all-over composition, unframed and dynamic. Geometric abstraction, Constructivism and Purism, and Surrealism were all in quest of a new mythology. “Making it new” yielded a new pathos in the sensation of radical discrepancy between futurist striving and remotest antiquity. The Paleolithic cave and the USSR emitted comparable siren calls on behalf of the remote past and the desired future. As such, the present was suffused with the pathos of being neither, but subject to both.
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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 aesthetic traditions, reinforces its producers' status as legitimate artists, advertises the various accolades it has received, and distances itself from NFL's commercial motives. This chapter explains NFL Films' use of aesthetic traditions and discourses to craft its image and position the company as part of an artworld—a status that is remarkably rare in sports television and in sports media more generally. It also considers how NFL Films situates Ed and Steve Sabol as artistic visionaries who play central roles in reinforcing its efforts to claim status as a site that produces art.
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Shearon, Stephen. The Sacred in Country Music. Edited by Travis D. Stimeling. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190248178.013.26.
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The key to understanding the vast majority of sacred expression in country music is understanding the gospel song and the religious developments for which it was the primary musical outlet. By the time the country market was established, gospel song had undergone a century or more of development. Changes in sacred country music, moreover, tracked the changes in gospel song. The earliest songs were northern product of the sort produced by Fanny Crosby. As southern production grew, songs such as those by Albert E. Brumley were added. And country artists themselves wrote new gospel songs. In the 1950s, country artists began incorporating gospel songs written by African Americans such as Thomas A. Dorsey. From the late 1960s, contemporary Christian songs and semisacred ballads were added to the mix. But country music also includes non-Christian sacred expression. John Anderson’s “Seminole Wind” evokes the animism of Native American cultures.
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Gover, K. E. Taking Pictures. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198768692.003.0006.
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This chapter presents appropriation art as a seemingly paradoxical renunciation and reinforcement of artistic authority. It then turns to the established philosophical debate surrounding interpretive intentionalism in light of the 2008 lawsuit between photographer Patrick Cariou and the contemporary appropriation artist Richard Prince. This case illustrates the essential role that intentionalism plays in deciding copyright suits. It then considers the philosophical problems surrounding the legal status of appropriation art. A number of scholars have proposed ways for the courts to accommodate appropriation art without eroding copyright protections for authors. It considers some recent proposals and rejects them. It then argues that appropriation art should be considered derivative and hence presumptively unfair.
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Doering, James M. New Alliances, New Media, New York. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037412.003.0005.
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This chapter talks about how Judson had transformed his professional life in less than five years. No longer a musical jack-of-all-trades, he was now a professional music manager, solidly established in the Philadelphia community. Judson's meteoric rise in the 1920s mirrored the United States' own economic prosperity during this era. But his success was more than a product of good economic times. Judson weighed his risks carefully, always kept a diverse management portfolio, and most importantly avoided pitting his various interests against each other. He had the ability to assure patrons of all types that their investments were not being wasted, and he had a similar effect on artists he managed. By the end of the 1920s, Judson wielded immense power, yet did so with the trust of the musical community.
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O’Brien, Julia M., ed. The Oxford Handbook of the Minor Prophets. Oxford University Press, 2021. http://dx.doi.org/10.1093/oxfordhb/9780190673208.001.0001.
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The Oxford Handbook of the Minor Prophets provides a clear and engaging one-volume guide to the major interpretative questions currently engaging scholars of the twelve Minor Prophets. Essays by both established and emerging scholars explore a wide range of methodological perspectives. Historical studies consider the manuscript evidence for these books and overview debates about how, when, and by whom they were composed. Literary explorations consider the genres and rhetorical style of the material, key themes, and intertextual connections with other sections of the Jewish and Christian canons. A large section on the history of interpretation traces the ways in which past and present confessional communities, scholars, and artists have understood the Minor Prophets. In the final section, essays on individual books of the Twelve explore the structure, themes, and contested issues of each book.
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Aminoff, Michael J. New Classrooms: Old Struggles. Oxford University Press, 2016. http://dx.doi.org/10.1093/med/9780190614966.003.0011.
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Charles Bell was an internationally renowned teacher of anatomy and surgery and an eloquent advocate of natural theology. His writings on the anatomy of expression had a major influence on art and on the training of painters and artists, and they gave birth to physiological psychology. Bell founded his own anatomy school, took over the well-known Hunterian school in Great Windmill Street, was a clinical teacher at one of the great London hospitals, was the most famous professor appointed to the medical department when the University of London was established, helped to found the Middlesex Hospital Medical School, and, finally, held a prestigious chair of surgery at the University of Edinburgh. His association with the University of London was brief, however, because his role was unclear, the institution was mismanaged, and the environment was acrimonious.
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Moura, Pedro. Visualising Small Traumas. Leuven University Press, 2021. http://dx.doi.org/10.11116/9789461664198.
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Portugal's vibrant comics scene originated as early as the 19th century, bringing forth brilliant individual artists, but has remained mostly unknown beyond Portugal’s borders to this day. Now a new generation employs this medium to put into question hegemonic views on the economy, politics, and society. Following the experience of the financial crisis of the past decades and its impact on social policies, access to and rules of public discourse, and civil strife, comics have questioned what constitutes a traumatogenic situation and what can act as a creative response. By looking at established graphic novels by Marco Mendes and Miguel Rocha, fanzine-level, and even experimental productions, Visualising Small Traumas is the first English-language book that addresses Portuguese contemporary comics and investigates how trauma studies can both shed a light on comics making and be informed by that very same practice.
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Muzyczuk, Daniel. Discontinuities and Resynchronisations. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0007.
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This chapter explores three distinct attempts in Polish film history to use the medium for research into synaesthesia. The first can be found in the films of Franciszka and Stefan Themerson made before the Second World War and after their emigration to Great Britain. Their experimental attitude is exposed through analysis of their work from 1944 entitled The Eye and the Ear. Second, the Experimental Studio of Polish Radio, established in the wake of Stalinism, became an important space where new approaches into investigating of the sound and vision relationship could develop. Primarily oriented towards electroacoustic composition, the studio was also used for producing scores for popular cinema. The third site for exploration was the Workshop of Film Form, a group of artists-filmmakers based in Łódź whose work exposed the primary elements of film language. Their research resulted in some of the best-developed experiments in synaesthesia.
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Winkler, Kevin. Fosseville. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199336791.003.0013.
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When Bob Fosse died in 1987, his influence on a new generation was already being felt, and this chapter traces that influence into the twenty-first century. With the opening sequence of All That Jazz, Fosse virtually created the modern MTV music video. His use of editing to fracture time and tell stories in a nonlinear manner has been much imitated by other filmmakers. The success of the revival of Chicago prompted the creation of Fosse, a retrospective that further established the Fosse brand. His dance and theatrical aesthetic has been so thoroughly absorbed into the popular culture that it is sometimes reduced to a generic, easily imitated category of dance. But artists also repurpose its key elements into new dance forms, referencing Fosse in innovative ways that make their work feel fresh and forward-looking, while paying tribute to an endlessly influential dance language.
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Gordon, Robert, and Olaf Jubin. Introduction. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.30.
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The Introduction explains the need for academic exploration of the British musical by approaching the genre from various perspectives: its sociocultural meanings, its correlation to queer culture and British camp, its close and sometimes rivalrous relationship with American popular culture, its attempts to straddle the divide between highbrow and lowbrow, and the relationship between the West End musical and ethnic subcultures in the UK. The authors argue that to judge British musicals by standards and conventions established by the Broadway musical is bound to be misleading, not least because British artists and audiences, responding to British and European influences, have consistently demonstrated a uniquely British sensibility and taste. The Introduction gives a brief overview of the twenty-eight essays, organized into six parts, which make up the Handbook. It concludes with lists of common themes in the British musical and of related topics that remain to be addressed.
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Braziel, Jana Evans. Riding with Death. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496812742.001.0001.
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On the southern end of the Grand Rue, a major thoroughfare that runs through the center of Port-au-Prince, waits the Haitian capital's automobile repair district. This junkyard of steel and rubber, recycled parts, old tires, and scrap metal might seem an unlikely foundry for art. Yet, on the street's opposite end thrives the Grand Rue Galerie, a working studio of assembled art and sculptures wrought from the refuse. Established by artists André Eugène and Jean Hérard Celeur in the late 1990s, the Grand Rue's urban environmental aesthetics radically challenge ideas about consumption, waste, and environmental hazards, as well as consider innovative solutions to these problems in the midst of poverty, insufficient social welfare, and lack of access to arts, education, and basic needs. This book explores the urban environmental aesthetics of the Grand Rue sculptors and the beautifully constructed sculptures they have designed from salvaged parts and materials. The book constructs an urban ecological framework for understanding these sculptures amid environmental degradation and grinding poverty. The book regards the underdeveloped cities of the global South as alternate spaces for challenging the profit-driven machinations of global capitalism. Above all, the book presents Haitian artists who live on the most challenged Caribbean island, yet who thrive as creators reinventing refuse as art and resisting the abjection of their circumstances.
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Welsh, Kariamu, Esailama G. A. Diouf, and Yvonne Daniel, eds. Hot Feet and Social Change. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042959.001.0001.
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The popularity and profile of African dance have exploded across the African diaspora in the last fifty years. Hot Feet and Social Change presents traditionalists, neo-traditionalists, and contemporary artists, teachers, and scholars telling some of the thousands of stories lived and learned by people in the field. Concentrating on eight major cities in the United States, the essays explode myths about African dance while demonstrating its power to awaken identity, self-worth, and community respect. These voices of experience share personal accounts of living African traditions, their first encounters with and ultimate embrace of dance, and what teaching African-based dance have meant to them and their communities. Throughout, the editors alert readers to established and ongoing research, and provide links to critical contributions by African and Caribbean dance experts.Contributors: Ausettua Amor Amenkum, Abby Carlozzo, Steven Cornelius, Yvonne Daniel, Charles “Chuck” Davis, Esailama G. A. Diouf, Indira Etwaroo, Habib Iddrisu, Julie B. Johnson, C. Kemal Nance, Halifu Osumare, Amaniyea Payne, William Serrano-Franklin, and Kariamu Welsh
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Marovich, Robert M. “When the Fire Fell”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039102.003.0002.
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This chapter examines the sanctified churches' contribution to the development of Chicago gospel music. Female evangelist Mattie L. Thornton is considered the organizer of Chicago's first sanctified church, the Holy Nazarene Tabernacle Apostolic Church, around 1908. By 1919, about twenty Holiness churches had been established throughout the city. This chapter first considers Holiness and Pentecostal movements with sanctified denominations that played significant roles in planting the seeds of gospel music in Chicago, including the Church of God in Christ (COGIC). It then profiles two leaders in the COGIC church community whose progeny would become important figures in gospel music: Bishop William Roberts and Elder Eleazar Lenox. It also explores how gospel music and sermon recordings became a way for sanctified churches to spread their message beyond the confines of the church walls, focusing on such artists as Arizona Dranes and preachers like Rev. William Arthur White, Rev. Ford Washington McGee, Rev. D. C. Rice, and Rev. Leora Ross.
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Cornell, Andrew. New Wind. University of Illinois Press, 2018. http://dx.doi.org/10.5406/illinois/9780252041051.003.0007.
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Something of a revolution in anarchist thought occurred during the 1940s and early 1950s, much of it centered in New York City. World War II divided the small contingent of U.S. anarchists active during the Depression years, as many movement veterans reluctantly endorsed the Allies as the only viable means of defeating fascism. However, a new generation of activists -- many of them recent college graduates -- established journals and organizations that rejected participation in the war, often on pacifist grounds, and that began to reevaluate central tenets of anarchist theory. This chapter explores the milieu that developed in New York City, Woodstock, NY, and rural New Jersey at mid-century, focusing on three "little magazines" that supported and influenced one another: Politics, Why?, and Retort. Although anarchism was at a numerical nadir during these years, a tight-knit community of artists, theorists, and radical pacifists developed ideas, tactics, and aesthetics that reshaped anarchism so fundamentally that they remain prominent today in the Occupy Wall Street demonstrations.
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Hughes, Charles. Country Music and the Recording Industry. Edited by Travis D. Stimeling. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190248178.013.6.
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This chapter explores the role of the recording industry in framing and fueling the development of country music from the 1920s to the present. It primarily examines the way that artists, producers, and record companies developed and manipulated the tenacious debate between “tradition” and “crossover” that continues to structure the music as art, commodity, and cultural symbol. The notion of country authenticity is a function of the attempt to establish country as a distinct and sellable genre. While the recording industry (particularly in Nashville) often gets cast as the villain in debates over country “authenticity,” this chapter suggests that a historical examination of this relationship reveals a more complicated story that has marked the careers of artists from Jimmie Rodgers to Taylor Swift. Swift’s notable work with social media, viral videos, and other components of the media landscape facing recording artists in the 2000s is the latest iteration of a much longer story for country artists, audiences, and record labels.
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Stimeling, Travis D. Nashville Cats. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197502815.001.0001.
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Nashville Cats: Record Production in Music City, 1945–1975 is the first history of record production during country music’s so-called Nashville Sound era. This period of country music history produced some of the genre’s most celebrated recording artists, including Country Music Hall of Fame inductees Patsy Cline, Jim Reeves, and Floyd Cramer, and marked the establishment of a recording industry that has come to define Nashville in the national and international consciousness. Yet, despite country music’s overwhelming popularity during this period and the continued legacy of the studios that were built in Nashville during the 1950s and 1960s, little attention has been given to the ways in which recording engineers, session musicians, and record producers shaped the sounds of country music during the time. Drawing upon a rich array of previously unexplored primary sources, Nashville Cats: Record Production in Music City, 1945–1975 is the first book to take a global view of record production in Nashville during the three decades that the city’s musicians established the city as the leading center for the production and distribution of country music.
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Scott, Walter. Marmion. Edited by Ainsley McIntosh. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474425193.001.0001.
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Marmion (1808) is the second of Walter Scott’s grand historical narrative poems. Its sixteenth-century romance tale is framed within six conversation poems, each addressed to one of Scott’s friends, and supplemented by substantial ethnographical and antiquarian notes. Scott here features as a topical poet, commemorating both national events and occasions, as well as the work of his contemporaries. His relations with aristocratic patrons, artists, and statesmen are also amply reflected in the dedicatory epistles. It was with the overwhelming success of Marmion (four editions and over 11,000 copies were produced in 1808 alone) that Scott’s poetic reputation was indisputably established, his entry in the world of commercial publishing confirmed, and his commitment to a literary life fully determined. This is the first scholarly edition of Marmion. Based on new archival research it provides critically edited text that incorporates lines omitted from previous editions of the poem and extensive annotations. The critical apparatus in this volume includes a detailed essay on the development of the text, a Historical Note, Explanatory Notes and a full glossary of Scots, foreign and archaic words.
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Erdos, David. European Data Protection Regulation, Journalism, and Traditional Publishers. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198841982.001.0001.
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This book explores the interface between European data protection and the freedom of expression activities of traditional journalism, professional artists, and both academic and non-academic writers from both an empirical and normative perspective. It draws on an exhaustive examination of both historical and contemporary public domain material and a comprehensive questionnaire of European Data Protection Authorities (DPAs). Empirically it is found that, notwithstanding an often confusing statutory landscape, DPAs have sought to develop an approach to regulating the journalistic media based on contextual rights balancing. However, they have struggled to secure a clear and specified criterion of strictness as regards standard-setting or a consistent and reliable approach to enforcement. DPAs have appeared even more confused as regards other traditional publishers, largely abstaining from regulating most professional artists and writers but attempting to subject all academic disciplines to onerous statutory restrictions established for medical, scientific, and related research. From these findings, it is argued that balancing contextual rights has value and should be both generalized across all traditional publishers and systematically and sensitively developed through structured and robust co-regulation. Such co-regulation should adopt the new code of conduct and monitoring provisions included in the General Data Protection Regulation (GDPR) as a broad guideline. DPAs should accord strong deference to any codes and monitoring bodies which verifiably meet the accredited criteria but must engage more proactively when these are absent. In any case, DPAs should also intervene directly as regards particularly serious or systematic issues and have an increasingly important role in ensuring a joined-up approach between traditional publishing and new media activity.
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Klein, Gabriele. Urban Choreographies. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.48.
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In recent years, above all in urban environments, new cultures of public protest and artistic interventions have established themselves. These artistic and aesthetic forms increasingly operate with physical, theatrical, and choreographic practices and tools, developing a politics of images in an effective and affective media environment. This chapter discusses, using the examples of LIGNA’s performances Radioballet and Dance of All, the aesthetic, political, and social dimensions of artistic interventions based on a concept of community that is defined by corporeal and aesthetic practices. The chapter highlights the political potential implied in the aesthetic and artistic forms of public cultural gatherings. It focuses on the production of attention by means of bodily practices (gestures, facial expressions, movement, dance), theatrical settings (stage, costumes, music), and choreographic tools (organization of bodies, rhythm, dramaturgy).
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von Stackelberg, Katharine T., and Elizabeth Macaulay-Lewis. Afterword. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190272333.003.0009.
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The papers in this volume have considered the reception, translation, transcription, and appropriation of Classical and Ancient Egyptian architecture in spaces of dwelling from the mid-eighteenth to late twentieth centuries. A complex picture emerges from these diverse analyses that points to future avenues for research. Most fundamentally, these essays demonstrate that scholars should approach much of the reception of ancient architecture not solely through a Neoclassical or Neo-Egyptian lens, but also through that of the Neo-Antique. Broader in concept, a Neo-Antique framework encourages us to make connections between the silos of knowledge, specifically here the Neoclassical and the Neo-Egyptian, to understand that the processes guiding the reception of Classical and Egyptian architecture were often similar, and part of the larger reception of antiquity in Europe and the United States. The Neo-Antique framework also challenges established conceptions of the Neoclassical’s limitations—an aristocratic and elite, derivative phenomenon—and redefines it as diverse, innovative, and original. These essays demonstrate that interest in ancient architecture was not limited to the civic and/or public sphere, but rather, that ancient architecture appealed to a wide range of patrons, architects, and artists in their creation of dwelling places—from dining rooms and bedrooms to tombs and gardens....
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Drury, Joseph. Narratives and Machines in Enlightenment Britain. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198792383.003.0002.
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The affinity between narratives and machines in the eighteenth century reflects the early modern effort to break down the traditional barriers separating the arts and sciences. Leading practitioners sought to establish the foundation of their arts in the sciences and natural philosophers transformed the sciences by incorporating the machines and techniques of artisans. Inspired by these developments, neoclassical critics sought to identify the fundamental mechanics of narrative. Like the machines used in other arts, the novel was understood to be a technical ‘invention’, recently imported from Europe, which needed to be rationalized for an enlightened nation. Once established on scientific principles, the novel could become a simulation device that produced useful knowledge of the principles underlying human behaviour. From these circumstances emerged one of the dominant technical codes of eighteenth-century fiction, a narrative of progress that extended the practical goals of the Industrial Enlightenment into the realm of individual moral development.
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Gray, Benjamin. Extinct. CSIRO Publishing, 2021. http://dx.doi.org/10.1071/9781486313723.
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Australia is home to an incredible diversity of native animals. While Australian animals are among the most unique in the world, they are also among the most endangered, with hundreds currently on the brink of extinction. We must act quickly if we are to save these species, as once gone, they are gone forever.
 
 Extinct is a collection of artworks from established and emerging Australian fine artists, each depicting an Australian animal that has already, for various reasons, tumbled over the edge into extinction. Extinct laments their loss, but also celebrates their former existence, diversity and significance. The stunning artworks are accompanied by stories of each animal, highlighting the importance of what we have lost, so that we appreciate what we have not lost yet.
 
 Extinct features artworks from Sue Anderson, Brook Garru Andrew, Andrew Baines, Elizabeth Banfield, Sally Bourke, Jacob Boylan, Nadine Christensen, Simon Collins, Lottie Consalvo, Henry Curchod, Sarah Faulkner, Dianne Fogwell, David Frazer, Martin George, Bruce Goold, Eliza Gosse, Simone Griffin, Johanna Hildebrandt, Miles Howard-Wilks, Nick Howson, Brendan Huntley, Ben Jones, Alex Latham, Rosemary Lee, Amanda Marburg, Chris Mason, Terry Matassoni, Rick Matear, Eden Menta, Reg Mombassa, Tom O'Hern, Bernard Ollis, Emma Phillips, Nick Pont, Geoffrey Ricardo, Sally Robinson, Anthony Romagnano, Gwen Scott, Marina Strocchi, Jenny Watson and Allie Webb.
 
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Lopes, Dominic McIver. Aesthetics in Three Dimensions. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198796657.003.0002.
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This chapter begins with a historical overview of aesthetics and the philosophy of art before turning to a discussion of how the philosophy of art bears upon human culture. It then considers the methods used in attacking problems in aesthetics and the philosophy of art by highlighting the distinctions between pure and applied philosophy, between internal and external perspectives on aesthetic and artistic phenomena, and between first-order and second-order methods. It also examines how aesthetics and the philosophy of art are affected as the arts evolve and as empirical studies of aesthetic and artistic phenomena become well established in the social and behavioural sciences as well as the humanities.
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Lopes, Dominic McIver. Aesthetics and Philosophy of Art. Edited by Herman Cappelen, Tamar Szabó Gendler, and John Hawthorne. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199668779.013.11.
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This article focuses on aesthetics and the philosophy of art as branches of so-called analytic philosophy. It begins with a historical overview of aesthetics and the philosophy of art before turning to a discussion of how the philosophy of art bears upon human culture. It then considers the methods used in attacking problems in aesthetics and the philosophy of art by highlighting the distinctions between pure and applied philosophy, between internal and external perspectives on aesthetic and artistic phenomena, and between first-order and second-order methods. It also examines how aesthetics and the philosophy of art are affected as the arts evolve and as empirical studies of aesthetic and artistic phenomena become well established in the social and behavioural sciences as well as the humanities.
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Lange, Barbara Rose. Epilogue. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190245368.003.0011.
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The Epilogue describes how economic and social shocks of the late 2000s, in particular the 2008 world economic crisis, affected local fusion musics in Central Europe. It discusses changes in artistic personhood, musical sociality, creative processes, and connections to the West European musical market; efficiency penetrated the creative process, and more aspects of the individual became monetized. The Epilogue describes how far-right nationalism and its musical expression strengthened in the late 2000s, and how others made musical interventions against these trends. It describes how musicians changed their relationships with large arts institutions, detailing how by the 2000s, intellectually oriented musicians established some connections to the Western European world-music industry and to new modes of musical production and distribution. It concludes that few artistic experiments could continue after socioeconomic shock.
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Pollack, Howard. The Ballad of John Latouche. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190458294.001.0001.
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Born into a poor Virginian family, John Treville Latouche (1914–1956), in his short life, made a profound mark on America’s musical theater as a lyricist and librettist. The wit and skill of his lyrics elicited comparisons with the likes of Ira Gershwin and Lorenz Hart, but he had too, as Stephen Sondheim noted, “a large vision of what musical theater could be,” and he proved especially venturesome in helping to develop a lyric theater that innovatively combined music, word, dance, and costume and set design. Many of his pieces, even if not commonly known today, remain high points in the history of American musical theater, including Cabin in the Sky (1940), Beggar’s Holiday (1946), The Golden Apple (1954), The Ballad of Baby Doe (1956), and Candide (1956). Extremely versatile, he also wrote cabaret songs, participated in documentary and avant-garde film, translated poetry, and adapted plays. Meanwhile, as one of Manhattan’s most celebrated raconteurs and hosts, he established friendships with many notables, including Paul and Jane Bowles, Carson McCullers, Frank O’Hara, Dawn Powell, Ned Rorem, Virgil Thomson, and Gore Vidal—a dazzling constellation of diverse artists all attracted to Latouche’s brilliance and joie de vivre, not to mention his support for their work. This book draws widely on archival collections both at home and abroad, including Latouche’s diaries and the papers of such collaborators as Leonard Bernstein, Duke Ellington, Douglas Moore, and Jerome Moross to tell for the first time the story of this fascinating man and his work.
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Curtis, Cathy. Alive Still. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190908812.001.0001.
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In 1942, at age twenty, after a vision-impaired and rebellious childhood in Richmond, Virginia, Nell Blaine decamped for New York. Operations had corrected her eyesight, and she was newly aware of modern art, so different from the literal style of her youthful drawings. In Manhattan, she met rising young artists and poets. Her life was hectic, with raucous parties in her loft, lovers of both sexes, and freelance design jobs, including a stint at the Village Voice. Initially drawn to the rigorous formalism of Piet Mondrian, she received critical praise for her jazzy abstractions. During the 1950s, she began to paint interiors and landscapes. By 1959, when the Whitney Museum purchased one of her paintings, her career was firmly established. That year, she contracted a severe form of polio on a trip to Greece; suddenly, she was a paraplegic. Undaunted, she taught herself to paint in oil with her left hand, reserving her right hand for watercolors. In her postpolio work, she achieved a freer style, expressive of the joy she found in flowers and landscapes. Living half the year in Gloucester, Massachusetts, and the other half in New York, she took special delight in painting the views from her windows and from her country garden. Critics found her new style irresistible, and she had a loyal circle of collectors; still, she struggled to earn enough money to pay the aides who made her life possible. At her side for her final twenty-nine years was her lover, painter Carolyn Harris.
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Allen, Nicholas, Nick Groom, and Jos Smith, eds. Coastal Works. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198795155.001.0001.
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In all the complex cultural history of the islands of Britain and Ireland, the idea of the coast as a significant representative space is critical. For many artists, coastal space has figured as a site from which to braid ideas of empire, nation, region, and archipelago. They have been drawn to the coast as a zone of geographical uncertainty in which the self-definitions of the nation founder; a peripheral space of vestigial wildness, of island retreats and experimental living; a network of diverse localities richly endowed with distinctive forms of cultural heritage; and a dynamically interconnected ecosystem, which is also the historic site of significant developments in fieldwork and natural science. This collection situates these cultures of the Atlantic edge in a series of essays that create new contexts for coastal study in literary history and criticism. The contributors frame their research in response to emerging conversations in archipelagic criticism, the blue humanities, and Island Studies, challenging the reader to reconsider ideas of margin, periphery, and exchange. These twelve case studies establish the coast as a crucial location in the imaginative history of Britain, Ireland, and the north Atlantic edge. Coastal Works will appeal to readers of literature and history with an interest in the sea, the environment, and the archipelago from the eighteenth century to the present. Accessible, innovative, and provocative, Coastal Works establishes the important role the coast plays in our cultural imaginary and suggests a range of methodologies to represent relationships between land, sea, and cultural work.
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Schindler, Thomas E. A Hidden Legacy. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197531679.001.0001.
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This biography of Esther Zimmer Lederberg highlights the importance of her research work, which revealed the unique features of bacterial sex, essential for our understanding of molecular biology and evolution. A Hidden Legacy relates how, she and her husband Joshua Lederberg established the new field of bacterial genetics together, in the decade leading up to the discovery of the DNA double helix. Their impressive series of achievements include: the discovery of λ bacteriophage and of the first plasmid, known as the F-factor; the demonstration that viruses carry bacterial genes between bacteria; and the elucidation of fundamental properties of bacterial sex. This successful collaboration earned Joshua the 1958 Nobel Prize, which he shared with two of Esther’s mentors, George Beadle and Edward Tatum. Esther Lederberg’s contributions, however, were overlooked by the Nobel committee, an example of institutional discrimination known as the Matilda Effect. Esther Lederberg should also have been recognized for inventing replica plating, an elegant technique that she originated by re-purposing her compact makeup pad as a kind of ink stamp for conveniently transferring bacterial colonies from one petri dish to another. Instead, the credit for the invention is given to her famous husband, or, at best, to Dr. and Mrs. Lederberg. Within a few years of winning the Nobel Prize, Joshua Lederberg divorced his wife, leaving Esther without a laboratory, cut off from research funding, and facing uncertain employment. In response, she created a new social circle made up of artists and musicians, including a new soulmate. She devoted herself to a close-knit musical ensemble, the Mid-Peninsula Recorder Orchestra, an avocation that flourished for over forty years, until the final days of her life.
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Hines, James R. Epilogue. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039065.003.0017.
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This chapter discusses figure skating in the twenty-first century. The popularity of figure skating grew steadily for more than half a century when the attack on Nancy Kerrigan and the unprecedented media coverage that followed thrust the sport into the limelight, if only briefly. However, by century's end, television ratings had declined substantially, and except for major competitions, most televised events had disappeared. Most touring shows disappeared as well. The two well-established companies, Champions on Ice and Stars on Ice, still tour in the United States, although their attendance has declined from that of the mid-1990s. Holiday on Ice still tours in Europe. The balance of athleticism and artistry that defines figure skating has been retained as the sport has entered the twenty-first century, although there has been some eroding of artistry since the mid-1980s, a result of the ever-increasing emphasis on athleticism, especially jumping.
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Hamera, Judith. The Labors of Michael Jackson. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199348589.003.0002.
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Chapter 1 establishes Michael Jackson’s deindustriality, which is too frequently ignored in favor of white artists like John Travolta in Saturday Night Fever or Bruce Springsteen. Jackson is the exemplary transitional subject of the deindustrial; his popularity peaked as manufacturing sector contractions became increasingly visible as national problems. His racial assertiveness and virtuosic dancing marked his own extraordinary social mobility while conjuring an industrial imaginary that was both fictively racially inclusive and apparently in the process of collapsing. Jackson simultaneously incarnated the trope of the human motor—one of the defining figures of industrial modernity—and offered a compelling, cruelly optimistic spectacle of the exceptional individual’s ability to glide away from this collapse with pleasure, precision, and hard work. The chapter also offers a theory of virtuosity as a relational process linking performers to audiences and, in Jackson’s case, accounting for his status as an icon of deindustrial mobility.
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Eller, Jonathan R. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036293.003.0001.
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This book delves into Ray Bradbury's emotional world as it matured through his explorations of cinema and art, his interactions with agents and editors, his reading discoveries, and the reading suggestions of older writers. It analyzes the origins of Bradbury's wariness of intellectual writing and his conviction that intuitive things are the real truths, that “the fiction writer is, first and foremost, an emotionalist.” These origins reveal why Bradbury's unique style and his abiding creative focus on the basic emotions that define our humanity remain his greatest contributions to American literature. In order to probe Bradbury's writing career, the book establishes the chronology of his encounters with the works of authors, artists, illustrators, playwrights, and filmmakers who stimulated his imagination throughout the first three decades of his life. The goal is to elucidate the “truth” of the many masks he assumes as he becomes Ray Bradbury.
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Tarulevicz, Nicole. Jam Tarts, Spotted Dicks, and Curry. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038099.003.0006.
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This chapter discusses how Singaporean and Malayan cookbooks produced from 1880 to 2008 were intended to inculcate a racial and social hierarchy. A 1960s cookbook based on the Malayan school curriculum, for example, states that the text is intended to “foster and develop those natural attributes of good craftsmanship and artistry posed by all Malayans.” In the cooking of jam tarts, boiled potatoes, royal icing, coddled eggs, and scones, it seems that Malayan artistry had a clearly British framing. Through educational materials, the colonial authorities, followed by the Singaporean government, used the domestic sphere to establish specific gender and racial constructions; to make rules. Moreover, they sought to imagine, and thereby define, the nation in alignment with the agendas of the elites.
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Maxwell, Catherine. Michael Field’s Fragrant Imagination. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198701750.003.0007.
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This chapter establishes the importance of perfume to Michael Field, the female aesthetes Katharine Bradley and Edith Cooper, and shows how it plays a significant role both in the poetry produced by Bradley and in entries in the women’s shared diary, especially those written by Cooper. Often exchanged in the form of gifts and scented flowers, perfume is strongly associated by both women with love but also with poetic creativity, as in Bradley’s verse, which celebrates her tender amatory feelings for Cooper but also her deep affection for the artist Charles Ricketts. The chapter concludes with a reading of one of Bradley’s most accomplished poems, which can be regarded as a poetic scented signature, expressing the essence of Michael Field.
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Town, Edward. Portraiture, Social Positioning, and Displays of Dignity in Early Modern London. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199385997.003.0008.
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This reflection discusses portraiture and self-fashioning in early modern London, and focuses on two unusual pictures painted by the émigré artist Marcus Gheeraerts the Younger in the 1570s. The society that Gheeraerts entered into when he fled from the Netherlands was one that was undergoing unprecedented change, as long-established structures of society and status eroded in the face of a rising and self-confident mercantile elite. Increasingly, these wealthy citizens turned to portraiture to assert their (often newfound) position within society, and the portraits that were made in this period reflect a number of the complexities inherent in a society in a state of flux. The challenge for Gheeraerts and his fellow exiles was how to negotiate this challenging environment, and this reflection explores the ways in which Gheeraerts used notions of dignity in these two paintings to that end.
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Abbott, Helen. Maurice Rollinat. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794691.003.0004.
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Poet, musician, and Chat noir cabaret artist Maurice Rollinat set Baudelaire to music a number of times during the 1880s. This chapter analyses two key sets of songs published in 1892: Six Poésies de Baudelaire and Six Nouvelles Poésies de Baudelaire. The analysis covers: (a) the context of composition; (b) the connections established between selected poems; (c) the statistical data generated from the adhesion strength tests; and (d) how the data shapes an evaluation of Rollinat’s settings of Baudelaire. The chapter concludes by suggesting that the settings are neither particularly disruptive nor especially cohesive (adhesion strength: loosely intermingled). A relatively high proportion of unexpected accentual stresses in the poetic line is mitigated by regular phrase lengths and breathing spaces. Rollinat’s settings demand a free approach to interpreting the printed score to achieve an accretive song; if the score is followed to the letter, it may create a dilutive song.
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Battey, Bret, and Rajmil Fischman. Convergence of Time and Space. Edited by Yael Kaduri. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.002.
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This chapter considers the historical lineage and conceptual origins of visual music, addressing the turn to abstraction and absolute film in visual arts, particularly in the first half of the twentieth century, and the turn to mimesis and spatialization in music, particularly through the acousmatic tradition after World War II. The chapter proposes a convergence between visual artists and musicians that prompted the former to embrace time through a shift away from mimesis toward abstraction, and the latter to adopt greater focus on space in shifting from abstraction toward mimesis. Together, these historical shifts prefigure the development of audiovisual art, revealing underlying theoretical commonalities in the articulation of time and space that suggest fundamental dynamics of theaudiovisual contractand strategies available to the visual music creator to establish a synergy of sound and image. Some of these strategies are demonstrated in two original case studies.
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Freedman, Linda. The Poetics of Belief. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198813279.003.0009.
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For Thomas J. J. Altizer and Norman O. Brown, Blake helped articulate some of the problems, as well as opportunities, of theology in an age which challenged established ways of thinking about God. Both were attracted to Blake’s antinomian and anti-establishment arguments. Altizer was hagiographic, exaggerating Blake’s importance as a forerunner and spiritual godfather of contemporary radical death-of-god theology. Brown turned to Blake’s corporeal imagery to forge his own ethical, anti-Pauline theology of the body, which sought to replace hierarchical systems with a more democratic and participatory poetics of belief. Both saw Blake as a spiritual and artistic guide, responding to the composite texture of his visual and verbal art and his philosophical interrogations of power and privilege.