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Journal articles on the topic 'Still-life painting, American'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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1

Meng, Hao. "The Development of Still-life Painting in China in the Second Half of the Twentieth Century Under the Influence of Russian-Soviet and Western Art." Философия и культура, no. 9 (September 2022): 121–32. http://dx.doi.org/10.7256/2454-0757.2022.9.38692.

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Still life as an independent painting genre in Chinese fine art was formed in the second half of the XX century under the strong influence, first of all, of Western European and Russian, and then American art. This relatively short period of time includes several periods at once, in which one or another influence dominated. However, it was the integration of the ideas and principles of foreign art schools that allowed Chinese masters to develop those features of the artistic and figurative language that determined the features of the genre of still life in the space of modern art. The object o
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2

Quintanar Cabello, Vanessa. "“in questa parto alcuni inconita et non peiu uisto”: American flora and fauna in the collections of the Museo del Prado." Aulas Museos y Colecciones de Ciencias Naturales 8- 2021 (2021): 27–41. http://dx.doi.org/10.29077/aula.8.3/quintanar.

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The arrival of dozens of plants and animals from America after the Europeans’ encounter with this continent attracted attention from the most diverse fields of knowledge. Doctors and botanists, for example, devoted hundreds of pages to these exotic species. But the world of the arts was not alien to their arrival and throughout the Modern Age, paintings from all over Europe were populated with sunflowers, turkeys or macaws. A good example of this can be found in the collections of the Prado Museum, where American flora and fauna found a place not only in still-life painting, but also in works
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Quintanar Cabello, Vanessa. "in questa parto alcuni inconita et non peiu uisto”: American flora and fauna in the collections of the Museo del Prado." Aulas Museos y Colecciones de Ciencias Naturales 8 (2021): 27–41. http://dx.doi.org/10.29077/aula.8.3_quintanar.

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The arrival of dozens of plants and animals from America after the Europeans’ encounter with this continent attracted attention from the most diverse fields of knowledge. Doctors and botanists, for example, devoted hundreds of pages to these exotic species. But the world of the arts was not alien to their arrival and throughout the Modern Age, paintings from all over Europe were populated with sunflowers, turkeys or macaws. A good example of this can be found in the collections of the Prado Museum, where American flora and fauna found a place not only in still-life painting, but also in works
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4

Župan, Ivica. "Majstor mirenja, spajanja i kombiniranja suprotnosti." Ars Adriatica, no. 2 (January 1, 2012): 257. http://dx.doi.org/10.15291/ars.454.

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Igor Rončević has been painting for a very long time with the consciousness that his painterly signature can be constructed from a series of disparate fragments, and so his collage paintings are composed of elements or stylistic details thanks to which his canvas has become a place where ambivalent worlds meet - an ntersection of their paths. Rončević is therefore, a painter of ludic individualism, but, at the same time, painter with wide erudition and above all, a curious pirit, who, in a unique way - in different clusters of itations - applies and joins together experiences from he entire hi
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Padyan, Yu Yu. "PERFORMANCE AS A CONTEMPORARY ART PHENOMENON." Arts education and science 1, no. 1 (2021): 148–56. http://dx.doi.org/10.36871/hon.202101017.

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The end of the XIXth — beginning of the XXth centuries is a special period in the history of world art culture, characterized by the emergence of such trends as modernism, post-impressionism, avant-gardism, abstractionism, cubism, surrealism and many others. The motto of XXth-century art was "Art into Life". Often new trends became a response to the demand of the mass consumer. One of them was the art of performance. Appearing as a rejection of traditional practices of painting, sculpture and theater, performance organically incorporated wellknown and new approaches and technologies that cause
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Meister, Maureen. "In Pursuit of an American Image: A History of the Italian Renaissance for Harvard Architecture Students at the Turn of the Twentieth Century." Prospects 28 (October 2004): 185–202. http://dx.doi.org/10.1017/s0361233300001472.

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After a five-month sojourn in Rome, the author Henry James departed with “an acquired passion for the place.” The year was 1873, and he wrote eloquently of his ardor, expressing appreciation for the beauty in the “solemn vistas” of the Vatican, the “gorgeous” Gesù church, and the “wondrous” Villa Madama. Such were the impressions of a Bostonian who spent much of his adult life in Europe. By contrast, in June of 1885, the young Boston architect Herbert Langford Warren wrote to his brother about how he was “glad to be out of Italy.” He had just concluded a four-month tour there. He had also visi
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Press, BRIT. "The Forest: A Fable of America in the 1830s." Journal of the Botanical Research Institute of Texas 17, no. 1 (2023): 322. http://dx.doi.org/10.17348/jbrit.v17.i1.1314.

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From the Publisher: Set amid the glimmering lakes and disappearing forests of the early United States, TheForest imagines how a wide variety of Americans experienced their lives. Part truth, part fiction, and featuringboth real and invented characters, the book follows painters, poets, enslaved people, farmers, and artisansliving and working in a world still made largely of wood. Some of the historical characters—such as ThomasCole, Margaret Fuller, Nathaniel Hawthorne, Fanny Kemble, Edgar Allan Poe, and Nat Turner—are wellknown,while others are not. But all are creators of private and grand d
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8

ROTSKOFF, LORI E. "Decorating the Dining-Room: Still-Life Chromolithographs and Domestic Ideology in Nineteenth-Century America." Journal of American Studies 31, no. 1 (1997): 19–42. http://dx.doi.org/10.1017/s0021875896005543.

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On several occasions during the late 1860s, the novelist Harriet Beecher Stowe exhorted readers to adorn their homes with chromolithographs, color prints which reproduced original oil-paintings or, less often, depicted images created specifically for the print medium. In her 1869 domestic advice manual, The American Woman's Home, co-authored with her sister Catharine Beecher, Stowe described chromolithographs (or “chromos,” as they were commonly called) as essential components of a properly embellished home interior. In proposing a hypothetical budget devoted to parlor furnishings, the authors
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Keller, Harold W. "The Forest: A Fable of America in the 1830s." Journal of the Botanical Research Institute of Texas 17, no. 2 (2023): 540. http://dx.doi.org/10.17348/jbrit.v17.i2.1330.

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From the Publisher: Set amid the glimmering lakes and disappearing forests of the early United States, The Forest imagines how a wide variety of Americans experienced their lives. Part truth, part fiction, and featuring both real and invented characters, the book follows painters, poets, enslaved people, farmers, and artisans living and working in a world still made largely of wood. Some of the historical characters—such as Thomas Cole, Margaret Fuller, Nathaniel Hawthorne, Fanny Kemble, Edgar Allan Poe, and Nat Turner—are well-known, while others are not. But all are creators of private and g
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10

Ette, Ottmar. "Magic Screens. Biombos, Namban Art, the Art of Globalization and Education between China, Japan, India, Spanish America and Europe in the 17th and 18th Centuries." European Review 24, no. 2 (2016): 285–96. http://dx.doi.org/10.1017/s1062798715000630.

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Garcilaso de la Vega el Inca, for several centuries doubtlessly the most discussed and most eminent writer of Andean America in the 16th and 17th centuries, throughout his life set the utmost value on the fact that he descended matrilineally from Atahualpa Yupanqui and from the last Inca emperor, Huayna Cápac. Thus, both in his person and in his creative work he combined different cultural worlds in a polylogical way.1 Two painters boasted that very same Inca descent – they were the last two great masters of the Cuzco school of painting, which over several generations of artists had been an in
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Sheleshneva-Solodovnikova, N. A. "The Painting of Fernando Botero: Universality and National Identity." Cuadernos Iberoamericanos 11, no. 2 (2023): 75–93. http://dx.doi.org/10.46272/2409-3416-2023-11-2-75-93.

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The outstanding contemporary artist Fernando Botero Angulo (b. 1932) is one of the leading artists of the postmodern era, thanks to the paraphrasing and irony of his works. He is also known as a graphic artist and a sculptor. Botero’s graphic and pictorial works are kept in many museums around the world, including the Russian ones — the State Hermitage Museum in St. Petersburg and the Pushkin State Museum of Fine Arts in Moscow; his sculptures adorn the cities of Europe, America, Asia. This article focuses on the artist’s painting: it gives an idea of him as a master who reflected universality
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Kang, Soo Y. "Flowers Disguised." Religion and the Arts 23, no. 1-2 (2019): 100–123. http://dx.doi.org/10.1163/15685292-02301005.

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Abstract Since the late twentieth century, Latina artists have used Catholic images, such as depictions of altars and the Virgin of Guadalupe, to speak both for themselves and for women’s issues at large. Maria Tomasula seems far from that norm, since she focuses on tightly constructed, dramatic still life, painted in the traditional European illusionistic manner. She reveals, however, Catholic influences and feminist messages in her flower paintings. This article aims to unveil the woman’s voice in the works of still life by Tomasula, as communicated through embedded Catholic symbolism and re
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White, Jessica. "‘So many sparks of fire’: Dorothy Cottrell, modernism and mobility." Queensland Review 23, no. 2 (2016): 164–77. http://dx.doi.org/10.1017/qre.2016.27.

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AbstractThe broad brush strokes of Dorothy Cottrell's paintings in the National Library of Australia mark her as a modernist artist, although not one who painted the burgeoning Sydney Harbour Bridge or bright still-life paintings of Australian flora. Rather, she captured the dun surrounds of Ularunda Station, the remote Queensland property to which she moved in 1920 after attending art school in Sydney. At Ularunda, Cottrell eloped with the bookkeeper to Dunk Island, where they stayed with nature writer E.J. Banfield, then relocated to Sydney. In 1924 they returned to Ularunda and Cottrell swa
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14

Bogdanov, V. P. "ARTIST AND POLITICS: REVOLUTION AND CIVIL WAR IN THE WORKS OF I. A. VLADIMIROV." Arts education and science 3, no. 32 (2022): 77–86. http://dx.doi.org/10.36871/hon.202203009.

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The article is devoted to the work of the famous Russian artist I. A. Vladimirov. Being one of the classics of socialist realism, in 1917–1921 he created a series of drawings little-known in Soviet times, which showed extremely negative changes in the life of the country during the Revolutions and the Civil War. By analyzing various works of the artist and correlating his creativity with the milestones of his biography, the author shows the historical and artistic authenticity of his paintings. I. A. Vladimirov’s cooperation with the police and the Cheka at the beginning of Soviet regime a pri
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Maine, Barry. "Late Nineteenth-Century Trompe L'Oeil and Other Performances of the Real." Prospects 16 (October 1991): 281–95. http://dx.doi.org/10.1017/s0361233300004555.

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“We live in an age of wonders!” exclaims a character in Henry James's The Bostonians (1886). And so it must have seemed to any American who could read the newspapers, which thrived, in the 1880s, on the business of proclaiming marvels. In The Bostonians one of the “wonders” is Miss Verena Tarrant, whose precocious and hypnotic speaking powers on the subject of women's rights — together with a pretty face and trim figure — succeeded in selling out the Boston Music Hall. Other wonders of the decade were less comely but more enduring: the lightbulb, the electric generator (which so awed Henry Ada
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Jarosz, Ewelina. "Hydro-sztuka w Polsce z perspektywy błękitnej humanistyki jako tratwy ratunkowej wobec katastrofy ekologicznej." Przegląd Kulturoznawczy, no. 2 (48) (2021): 284–318. http://dx.doi.org/10.4467/20843860pk.21.020.14077.

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Hydro-art in Poland from the Perspective of the Blue Humanities as a Life Raft in the Face of Ecological Catastrophe The aim of my article is to analyze the contemporary diversified notion of practices in the field of visual arts, performative arts, and artivism as related to the care of the aquatic ecosystems. I also intend to introduce the hydro-art in Poland as the category of the blue humanities – relatively recent branch of the new humanities, conceptualized in the Western academies and still little know in the Polish context of Central-Eastern Europe. I apply the navigating tools offered
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Chávez Leyva, Yolanda. "“Behind each beautiful painting is a child longing to be free”: Deep visual listening and children’s art during times of crisis." Global Studies of Childhood 11, no. 2 (2021): 123–41. http://dx.doi.org/10.1177/20436106211023509.

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“Deep visual listening and children’s art during times of crisis” explores a way to understand children’s art created amidst crisis as well as the meanings we can discern from it through the lens of the “Uncaged Art Tornillo Detention Center” exhibit. In 2018, the U.S. government opened a detention center to hold youth who either crossed the border by themselves or were separated from their families through Trump’s Zero Tolerance policy. The youth were from Central America and came seeking asylum. Fleeing profound poverty and violence, they came to save their lives. To deter asylum-seekers thr
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18

Savelzon, Igor. "Philadelphia, Gruzino, Orenburg: on the Issue of Periodization of the Journal Activity of P. Svinyin." Theoretical and Practical Issues of Journalism 10, no. 2 (2021): 320–37. http://dx.doi.org/10.17150/2308-6203.2021.10(2).320-337.

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The system of principles and techniques of publicistic creativity of P.P. Svinin was influenced by his life events. While still in the diplomatic service in America and Europe (1806–1814), he understood the prospects of the mission of a mediator in intercultural dialogue between them and Russia, and launched a career of cultural and educational journalist. Upon his to Russia he actively participated in intercultural dialogue between Russia and the West. Later Svinin engaged in equally productive but more originally found intracultural dialogue — between Russia and the Russian reader. Regions,
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Hymes, Dell. "Robert Bringhurst, A story as sharp as a knife: The classic Haida mythtellers and their world. Vancouver & Toronto: Douglas & McIntyre, 1999. Pp. 527. Hb $45.00; Robert Bringhurst, Nine visits to the mythworld: Ghandl of the Qayahl Llaanas. (Masterworks of the Classical Haida Mythtellers, vol. 2.) Lincoln: University of Nebraska Press, 2000. Pp. 222. Hb $37.95; and Robert Bringhurst, Being in being: The collected works of Skaay of the Qquuna Qiighawaay. (Masterworks of the Classical Haida Mythtellers, vol. 3.) Lincoln: University of Nebraska Press, 2001. Pp. 397. Hb. $35.00." Language in Society 32, no. 5 (2003): 747–51. http://dx.doi.org/10.1017/s0047404503305056.

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These three volumes invite a volume in return. They bring Haida to the fore of what is known of oral narrative in Native North America. One finds a dedicated philological sleuth, tracking down original texts and unpublished manuscripts (see A story as sharp as a knife, pp. 221–2; Nine visits to the mythworld, p. 17); a historian of anthropology, reconstructing and relating the story of a young fieldworker who is now largely forgotten (John R. Swanton); a pursuit of detail that enters into a past world, identifying in footnotes and photographs the places and foods and material culture of that w
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20

Mosaleva, Galina Vladimirovna. "RUSSIA OF CHICHIKOV AND RUSSIA OF GOGOL IN THE POEM “DEAD SOULS”." Russian Journal of Multilingualism and Education 14 (December 28, 2022): 85–93. http://dx.doi.org/10.35634/2500-0748-2022-14-85-93.

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The paper considers the polysemy of the image of Russia in N. V. Gogol’s “Dead Souls.” It is a new angle of research; its relevance is connected with the reception of the category of church construction allowing to see new characteristics in Gogol’s poetics. The objective of the study is to establish a link between the category of church construction, which manifests itself in the church symbolism, and Gogol’s text poetics. The research methodology presents an attempt to study “Dead Souls” in the context of the Orthodox tradition. On the external pictorial plane, appears the image of Russia, s
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Murokh, Dina I. "William Harnett’s Curious Objects: Still-Life Painting after the American Civil War by Nika Elder." Nineteenth-Century Art Worldwide 22, no. 1 (2023). http://dx.doi.org/10.29411/ncaw.2023.22.1.10.

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Turnock, Julie. "Painting Out Pop." M/C Journal 2, no. 4 (1999). http://dx.doi.org/10.5204/mcj.1764.

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Film directors in American cinema have used the artist (painter, singer, thespian, writer, etc.) as a vehicle for auteurist identification in feature bio-pics for decades. The portrayal of the protagonists in these films usually falls victim to the "Van Gogh" syndrome, that is, the insistance on the creative inner turmoil, the solitary, misunderstood genius, and brave rebellion of its central character. This approach, however, breaks down completely when confronted with the void that is the historical figure known as "Andy Warhol." The popular image of Warhol, his studied superficiality, unapo
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Brien, Donna Lee. "Disclosure in Biographically-Based Fiction: The Challenges of Writing Narratives Based on True Life Stories." M/C Journal 12, no. 5 (2009). http://dx.doi.org/10.5204/mcj.186.

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As the distinction between disclosure-fuelled celebrity and lasting fame becomes difficult to discern, the “based on a true story” label has gained a particular traction among readers and viewers. This is despite much public approbation and private angst sometimes resulting from such disclosure as “little in the law or in society protects people from the consequences of others’ revelations about them” (Smith 537). Even fiction writers can stray into difficult ethical and artistic territory when they disclose the private facts of real lives—that is, recognisably biographical information—in thei
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24

Margaryan, Ani. "The Interpretation Of Chinese Empress Dowager Cixi's Image In The Portraits Of American Artists." Journal of Art Studies, December 2, 2021, 175–97. http://dx.doi.org/10.52853/25792830-2021.2-175.

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The Chinese themes in Early American art have long been obscured under the veil of Japonisme, Aesthetic movement, boundary-pushing modernism and more significantly because of the political circumstances - decline of China as an empire and complicated Chinese-American interconnections. One of the favoured theme of American academism at the period of the late 19th- early 20th centuries were genre scenes, street scenes, portrait d’intérieur1 , portraits, still life works related to China and Chinatowns. Nonetheless, the American press through the imagery created by illustrators and caricaturists
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Green, Lelia, Richard Morrison, Andrew Ewing, and Cathy Henkel. "Ways of Depicting: The Presentation of One’s Self as a Brand." M/C Journal 20, no. 4 (2017). http://dx.doi.org/10.5204/mcj.1257.

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Ways of Seeing"Images … define our experiences more precisely in areas where words are inadequate." (Berger 33)"Different skins, you know, different ways of seeing the world." (Morrison)The research question animating this article is: 'How does an individual creative worker re-present themselves as a contemporary - and evolving - brand?' Berger notes that the "principal aim has been to start a process of questioning" (5), and the raw material energising this exploration is the life's work of Richard Morrison, the creative director and artist who is the key moving force behind The Morrison Stud
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Lisle, Debbie. "The 'Potential Mobilities' of Photography." M/C Journal 12, no. 1 (2009). http://dx.doi.org/10.5204/mcj.125.

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In the summer of 1944, American Sergeant Paul Dorsey was hired by the Naval Aviation Photography Unit (NAPU) to capture “the Marines’ bitter struggle against their determined foe” in the Pacific islands (Philips 43). Dorsey had been a photographer and photojournalist before enlisting in the Marines, and was thus well placed to fulfil the NAPU’s remit of creating positive images of American forces in the Pacific. Under the editorial and professional guidance of Edward Steichen, NAPU photographers like Dorsey provided epic images of battle (especially from the air and sea), and also showed Ameri
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Coull, Kim. "Secret Fatalities and Liminalities: Translating the Pre-Verbal Trauma and Cellular Memory of Late Discovery Adoptee Illegitimacy." M/C Journal 17, no. 5 (2014). http://dx.doi.org/10.5204/mcj.892.

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I was born illegitimate. Born on an existential precipice. My unwed mother was 36 years old when she relinquished me. I was the fourth baby she was required to give away. After I emerged blood stained and blue tinged – abject, liminal – not only did the nurses refuse me my mother’s touch, I also lost the sound of her voice. Her smell. Her heart beat. Her taste. Her gaze. The silence was multi-sensory. When they told her I was dead, I also lost, within her memory and imagination, my life. I was adopted soon after but not told for over four decades. It was too shameful for even me to know. Impri
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Mussari, Mark. "Umberto Eco Would Have Made a Bad Fauve." M/C Journal 5, no. 3 (2002). http://dx.doi.org/10.5204/mcj.1966.

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"The eye altering, alters all." - Blake In his essay "How Culture Conditions the Colours We See," Umberto Eco claims that chromatic perception is determined by language. Regarding language as the primary modeling system, Eco argues for linguistic predominance over visual experience: ". . . the puzzle we are faced with is neither a psychological one nor an aesthetic one: it is a cultural one, and as such is filtered through a linguistic system" (159). Eco goes on to explain that he is 'very confused' about chromatic effect, and his arguments do a fine job of illustrating that confusion. To Eco'
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Margaryan, Ani. "The Oeuvre Of The Armenian American Artist Hovsep Pushman Within The Context Of Western Still Lifes With Chinese Art Objects." Երիտասարդ հայ արվեստաբանների գիտական նստաշրջանի նյութեր, September 19, 2023. http://dx.doi.org/10.54503/2953-8122.2023.15(2)-56.

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The current research is dedicated to the legacy of the American artist of Armenian descent Hovsep Pushman, the climax of whose oeuvre is still life paintings with highlighted Asian, including Chinese, figurines depicted with the use of the principles of tenebrism, Impressionism and the expressive means of Symbolism. The distinguishing features of Pushman’s approach to this genre are unveiled through analysis of his works, featuring the Tang Dynasty figurines, Chinese porcelain, and antiquities, within the framework of the Western, including American, tradition of still life with Chinese art ob
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Miletić, Saša. "Just an Illusion?" M/C Journal 26, no. 5 (2023). http://dx.doi.org/10.5204/mcj.3009.

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Introduction In this article I suggest a reading of the magic trick from a politico-ideological perspective, using Slavoj Žižek’s critique of ideology, and in particular, the aspect of cynicism as a part of the functioning of a certain ideology by keeping a distance towards it at the same time. The structure of the magic trick – from the classic sleight of hand up to levitation in front of a live television (TV) audience – can be useful in understanding how politics and ideology function today, and perhaps more importantly, how the critique of ideology can paradoxically help rehabilitate the n
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Kloosterman, Robert C., and Amanda Brandellero. ""All these places have their moments": Exploring the Micro-Geography of Music Scenes: The Indica Gallery and the Chelsea Hotel." M/C Journal 19, no. 3 (2016). http://dx.doi.org/10.5204/mcj.1105.

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Hotspots of Cultural InnovationIn the 1960s, a long list of poets, writers, and musicians flocked to the Chelsea Hotel, 222 West 23rd Street, New York (Tippins). Among them Bob Dylan, who moved in at the end of 1964, Leonard Cohen, who wrote Take This Longing dedicated to singer Nico there, and Patti Smith who rented a room there together with Robert Mapplethorpe in 1969 (Smith; Bell; Simmons). They all benefited not just from the low rents, but also from the close, often intimate, presence of other residents who inspired them to explore new creative paths. Around the same time, across the Atl
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Musgrove, Brian Michael. "Recovering Public Memory: Politics, Aesthetics and Contempt." M/C Journal 11, no. 6 (2008). http://dx.doi.org/10.5204/mcj.108.

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1. Guy Debord in the Land of the Long WeekendIt’s the weekend – leisure time. It’s the interlude when, Guy Debord contends, the proletarian is briefly free of the “total contempt so clearly built into every aspect of the organization and management of production” in commodity capitalism; when workers are temporarily “treated like grown-ups, with a great show of solicitude and politeness, in their new role as consumers.” But this patronising show turns out to be another form of subjection to the diktats of “political economy”: “the totality of human existence falls under the regime of the ‘perf
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Lund, Curt. "For Modern Children." M/C Journal 24, no. 4 (2021). http://dx.doi.org/10.5204/mcj.2807.

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“...children’s play seems to become more and more a product of the educational and cultural orientation of parents...” — Stephen Kline, The Making of Children’s Culture We live in a world saturated by design and through design artefacts, one can glean unique insights into a culture's values and norms. In fact, some academics, such as British media and film theorist Ben Highmore, see the two areas so inextricably intertwined as to suggest a wholesale “re-branding of the cultural sciences as design studies” (14). Too often, however, everyday objects are marginalised or overlooked as objects of s
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Coghlan, Jo, Lisa J. Hackett, and Huw Nolan. "Barbie." M/C Journal 27, no. 3 (2024). http://dx.doi.org/10.5204/mcj.3072.

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The story of Barbie is a tapestry woven with threads of cultural significance, societal shifts, and corporate narratives. It’s a tale that encapsulates the evolution of American post-war capitalism, mirroring the changing tides of social norms, aspirations, and identities. Barbie’s journey from Germany to Los Angeles, along the way becoming a global icon, is a testament to the power of Ruth Handler’s vision and Barbie’s marketing. Barbie embodies and reflects the rise of mass consumption and the early days of television advertising, where one doll could become a household name and shape the dr
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Lyubchenko, Irina. "NFTs and Digital Art." M/C Journal 25, no. 2 (2022). http://dx.doi.org/10.5204/mcj.2891.

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Introduction This article is concerned with the recent rise in popularity of crypto art, the term given to digital artworks whose ownership and provenance are confirmed with a non-fungible token (NFT), making it possible to sell these works within decentralised cryptocurrency art markets. The goal of this analysis is to trace a genealogy of crypto art to Dada, an avant-garde movement that originated in the early twentieth century. My claim is that Dadaism in crypto art appears in its exhausted form that is a result of its revival in the 1950s and 1960s by the Neo Dada that reached the current
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Potts, Graham. "For God and Gaga: Comparing the Same-Sex Marriage Discourse and Homonationalism in Canada and the United States." M/C Journal 15, no. 6 (2012). http://dx.doi.org/10.5204/mcj.564.

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We Break Up, I Publish: Theorising and Emotional Processing like Taylor Swift In 2007 after the rather painful end of my first long-term same-sex relationship I asked myself two questions (and like a good graduate student wrote a paper about it that was subsequently published): (1) what is love; (2) and if love exists, are queer and straight love somehow different. I asked myself the second question because, unlike my previous “straight” breakups (back when I honestly thought I was straight), this one was different, was far more messy, and seemed to have a lot to do with the fact that my then
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Deer, Patrick, and Toby Miller. "A Day That Will Live In … ?" M/C Journal 5, no. 1 (2002). http://dx.doi.org/10.5204/mcj.1938.

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By the time you read this, it will be wrong. Things seemed to be moving so fast in these first days after airplanes crashed into the World Trade Center, the Pentagon, and the Pennsylvania earth. Each certainty is as carelessly dropped as it was once carelessly assumed. The sounds of lower Manhattan that used to serve as white noise for residents—sirens, screeches, screams—are no longer signs without a referent. Instead, they make folks stare and stop, hurry and hustle, wondering whether the noises we know so well are in fact, this time, coefficients of a new reality. At the time of writing
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Luigi Alini. "Architecture between heteronomy and self-generation." TECHNE - Journal of Technology for Architecture and Environment, May 25, 2021, 21–32. http://dx.doi.org/10.36253/techne-10977.

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Introduction
 «I have never worked in the technocratic exaltation, solving a constructive problem and that’s it. I’ve always tried to interpret the space of human life» (Vittorio Garatti).
 Vittorio Garatti (Milan, April 6, 1927) is certainly one of the last witnesses of one “heroic” season of Italian architecture. In 1957 he graduated in architecture from the Polytechnic of Milan with a thesis proposing the redesign of a portion of the historic centre of Milan: the area between “piazza della Scala”, “via Broletto”, “via Filodrammatici” and the gardens of the former Olivetti building
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Lam, Ryan. "Escaping the Shadow." Voices in Bioethics 8 (September 25, 2022). http://dx.doi.org/10.52214/vib.v8i.9966.

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Photo by Karl Raymund Catabas on Unsplash The interests of patients at most levels of policymaking are represented by a disconnected patchwork of groups … “After Buddha was dead, they still showed his shadow in a cave for centuries – a tremendous, gruesome shadow. God is dead; but given the way people are, there may still for millennia be caves in which they show his shadow. – And we – we must still defeat his shadow as well!” – Friedrich Nietzsche[1] INTRODUCTION Friedrich Nietzsche famously declared that “God is dead!”[2] but lamented that his contemporaries remained living in the shadow of
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Macken, Marian. "And Then We Moved In." M/C Journal 10, no. 4 (2007). http://dx.doi.org/10.5204/mcj.2687.

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 Working drawings are produced, when a house is designed, to envisage an imagined building. They are a tangible representation of an object that has no tangible existence. These working drawings act as a manual for constructing the house; they represent that which is to be built. The house comes into being, therefore, via this set of drawings. This is known as documentation. However, these drawings record the house at an ideal moment in time; they capture the house in stasis. They do not represent the future life of the house, the changes and traces the inhabitants make upo
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Watson, Robert. "E-Press and Oppress." M/C Journal 8, no. 2 (2005). http://dx.doi.org/10.5204/mcj.2345.

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 From elephants to ABBA fans, silicon to hormone, the following discussion uses a new research method to look at printed text, motion pictures and a teenage rebel icon. If by ‘print’ we mean a mechanically reproduced impression of a cultural symbol in a medium, then printing has been with us since before microdot security prints were painted onto cars, before voice prints, laser prints, network servers, record pressings, motion picture prints, photo prints, colour woodblock prints, before books, textile prints, and footprints. If we accept that higher mammals such as elepha
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Lord, Catherine M. "Serial Nuns: Michelle Williams Gamaker’s The Fruit Is There to Be Eaten as Serial and Trans-Serial." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1370.

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Introduction: Serial Space“It feels …like the edge of the world; far more remote than it actually is, perhaps because it looks at such immensity” (Godden “Black,” 38). This is the priest’s warning to Sister Clodagh in Rumer Godden’s 1939 novel Black Narcissus. The young, inexperienced Clodagh leads a group of British nuns through the Indian Himalayas and onto a remote mountain top above Mopu. Michael Powell and Emeric Pressburger adapted Godden’s novel into the celebrated feature film, Black Narcissus (1947). Following the novel, the film narrates the nuns’ mission to establish a convent, scho
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Melleuish, Greg. "Taming the Bubble." M/C Journal 24, no. 1 (2021). http://dx.doi.org/10.5204/mcj.2733.

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When I saw the word ‘bubbles’ my immediate thought went to the painting by John Millais of a child blowing bubbles that subsequently became part of the advertising campaign for Pears soap. Bubbles blown by children, as we all once did, last but a few seconds and lead on naturally to the theme of transience and constant change. Nothing lasts forever, even if human beings make attempts to impose permanence on the world. A child’s disappointment at having a soap bubble burst represents a deep human desire for permanence which is the focus of this article. Before the modern age, human life could b
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Purvis Lively, Cathy. "Social Isolation of Older Adults in Long Term Care as a Result of COVID-19 Mitigation Measures During the COVID-19 Pandemic." Voices in Bioethics 7 (July 28, 2021). http://dx.doi.org/10.52214/vib.v7i.8526.

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Photo by Jeremy Wong on Unsplash ABSTRACT In response to the threat of COVID-19, CMS issued unprecedented restrictions severely limiting the liberty of older adults residing in long-term care. Older adults are identified as at a high risk of becoming infected through exposure to SARS-Cov-2 and of suffering the most severe morbidity and mortality. While protecting the individual from disease, the restrictions also had a determinantal effect. The restrictions exacerbated social isolation and loneliness, two pervasive public health concerns within the older adult population. Legally, the restrict
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Gerrand, Vivian, Kim Lam, Liam Magee, Pam Nilan, Hiruni Walimunige, and David Cao. "What Got You through Lockdown?" M/C Journal 26, no. 4 (2023). http://dx.doi.org/10.5204/mcj.2991.

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Introduction While individuals from marginalised and vulnerable communities have long been confronted with the task of developing coping strategies, COVID-19 lockdowns intensified the conditions under which resilience and wellbeing were/are negotiated, not only for marginalised communities but for people from all walks of life. In particular, the pandemic has highlighted in simple terms the stark divide between the “haves” and “have nots”, and how pre-existing physical conditions and material resources (or lack thereof), including adequate income, living circumstances, and access to digital an
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Kouhia, Anna. "Crafts in the Time of Coronavirus." M/C Journal 26, no. 6 (2023). http://dx.doi.org/10.5204/mcj.2932.

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Introduction In March 2020, many societal functions came to a standstill due to the worldwide spread of Covid-19. Due to the rules set by public healthcare authorities that aimed at “social distancing” to prevent the spread of the virus, the emphasis on domesticity was heightened during the pandemic. As people were forced to spend more time in the home environment, more time was allowed for household pursuits and local activities, such as crafts and home repair (Morse, Fine, and Friedlander). While there has been a rising interest in craft-making as the medium of expression for the past few de
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O'Hara, Lily, Jane Taylor, and Margaret Barnes. "We Are All Ballooning: Multimedia Critical Discourse Analysis of ‘Measure Up’ and ‘Swap It, Don’t Stop It’ Social Marketing Campaigns." M/C Journal 18, no. 3 (2015). http://dx.doi.org/10.5204/mcj.974.

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BackgroundIn the past twenty years the discourse of the weight-centred health paradigm (WCHP) has attained almost complete dominance in the sphere of public health policy throughout the developed English speaking world. The national governments of Australia and many countries around the world have responded to what is perceived as an ‘epidemic of obesity’ with public health policies and programs explicitly focused on reducing and preventing obesity through so called ‘lifestyle’ behaviour change. Weight-related public health initiatives have been subjected to extensive critique based on ideolog
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Strungaru, Simona. "The Blue Beret." M/C Journal 26, no. 1 (2023). http://dx.doi.org/10.5204/mcj.2969.

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When we think of United Nations (UN) peacekeepers, the first image that is conjured in our mind is of an individual sporting a blue helmet or a blue beret (fig. 1). While simple and uncomplicated, these blue accessories represent an expression and an embodiment resembling that of a warrior, sent to bring peace to conflict-torn communities. UN peacekeeping first conceptually emerged in 1948 in the wake of the Arab-Israeli war that ensued following the United Kingdom’s relinquishing of its mandate over Palestine, and the proclamation of the State of Israel. “Forged in the crucible of practical d
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Săpunaru Tămaș, Carmen. "Prince(ss) Charming of the Japanese Popular Theatre." M/C Journal 25, no. 4 (2022). http://dx.doi.org/10.5204/mcj.2920.

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Taishū engeki—Entertainment for the Masses? What do a highway robber, a samurai, and a geisha have in common? They are all played by the same actor, often at the same time, in an incredible flurry of costume change, in a contemporary form of Japanese theatre called taishū engeki. Taishū engeki, translated as vaudeville, literally, “theatre for the masses”, would be better described as a parallel world of fantasy, glitter, and manga-esque beautiful men wearing elaborate wigs and even more elaborate kimonos, who dance and gracefully sway their hips to portray women, and simultaneously do their b
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Lawrence, Robert. "Locate, Combine, Contradict, Iterate: Serial Strategies for PostInternet Art." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1374.

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We (I, Robert Lawrence and, in a rare display of unity, all my online avatars and agents)hereby render and proclaim thisMANIFESTO OF PIECES AND BITS IN SERVICE OF CONTRADICTIONAL AESTHETICSWe start with the simple premise that art has the job of telling us who we are, and that through the modern age doing this job while KEEPING UP with accelerating cultural change has necessitated the invention of something we might call the avant-garde. Along the way there has been an on-again-off-again affair between said avant-garde and technology. We are now in a new phase of the new and the technology und
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