DOCSLIB.ORG

2020 Abstracts

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2020 Abstracts Abstracts for the Annual SECAC Conference Host Institution: Virginia Commonwealth University Convened Virtually November 30th - December 11th, 2020 Conference Chair: Carly Phinizy, Virginia Commonwealth University Hallie Abelman, University of Iowa The Home Lives of Animal Objects Ducks give pause to the DeafBlind poet John Lee Clark, who encounters them in rubber, stone, and wood while scanning aisles of gift shops and flea markets. Always perplexed by their flat bottoms, Clark notes how this perplexing design decision maintains visual (over tactile) privilege. The portal opened by this reflection exemplifies the precise intersection of animals, material culture, and disability driving Abelman’s performance-lecture at SECAC2020. Abelman treats each animal object she encounters as a prop and every mundane interaction with it as a performance, so Abelman demonstrates how the performativity of these obJects can elicit necessary humor, irony, and satire often missing from mainstream environmentalist narratives. Be they tchotchkes, souvenirs, commodities, or toys, each of these obJects has a culturally specific relationship to the species it portrays, a unique material makeup, and a history of being touched by human hands. Attending to the social construction of these realities aids an essential reconciliation between commodified animals and real animal livelihoods. Overall, the audience gains a better sense of how animal obJects can not only misrepresent a species but also contribute to that very species’s demise, be instrumentalized for the perpetuation of racist ideologies, and mobilize ableist fears. Rachel Allen, University of Delaware Nocturnes without Sky (World): FreDeric Remington Pushes Indigenous Cosmologies Out of the Frame This paper examines Frederic Remington’s (American, 1861–1909) The Gossips (1909) and the impact of his final paintings on Indigenous people and our cosmologies. A prolific illustrator and author, Remington began to paint night scenes in 1899 and this new body of work received critical acclaim. Though lauded for its beauty and authenticity, The Gossips contains important subtext. The horse legs fade into the tall grass, as if the land is reclaiming each horse and rider. Tipis melt into the ground. The sun is setting on the scene, and perhaps on the era of Indigenous people in America. As his characters recede into the land to make way for American settlement, the air, sky, and atmosphere are also expelled. The Gossips’s horizon line appears very high on the picture plane, privileging land over sky in nighttime scenes. Indigenous people recognize that air and sky have agency and history. Allen argues that these early representations contribute to an American ideology that strips Native American people of their cosmologies and knowledge of the sky world. This disconnection extends into the present as Native nations gain visibility in their fights for clean air, airspace, and spectrum rights. Matías AllenDe ContaDor, Universidad de Chile Monuments for Current Political Conflicts: Reorganizing Networks in Front the Voracity of the State After the social outbreak in Chile, the streets have been occupied as the predominant place of protest. One example is the taking over of monuments located in the city, tainting, amputating them, corrupting their original meaning, and making them operate from a different place. This anti-colonial practice responds to the founding ethos of the Latin American states, republics that were founded from patriarchal and Eurocentric canons. Without underestimating these gestures of appropriation, what would the monuments for this new critical stage be? Two significant examples, both from 2018, are the works of regional artists thinking about the history of the colonial and republican installation. This presentation deals on one hand with the work Fragmentos, by Doris Salcedo (Bogotá, 1958), part of the Peace Accords in Colombia. On the other hand, the Venezuelan-Chilean artist Jessica Briceño (Caracas, 1988), with her work Guapondelig, offers a reflection on the layers of conquest that exist in a city like Cuenca (Ecuador). She studied different cultures through their public fountains, thus retracing history as a gesture of subversion before official state discourses. These proposals shed light on new monuments of the present while simultaneously collecting a story of profound discord. Aaron Ambroso, UNC–Chapel Hill FreD Wilson’s Mixed Metaphors: The Politics of Museums in the Late 20th Century Against the background of tensions animating museum discourse of the early 1990s, Fred Wilson’s Mixed Metaphors (1993) challenged both art and artifact methods of display and discourses of authenticity. As part of an invitation by the Seattle Museum of Art to reimagine the display of its permanent collection galleries, Wilson altered and made additions to the African and Northwest Coast galleries, addressing issues of colonialism and power through techniques of Juxtaposition and substitution. Instead of lamenting changes in indigenous societies, or rearticulating narratives of the redemption and preservation of indigenous culture from immanent destruction or contamination, Mixed Metaphors pushed the Seattle Museum of Art to further articulate its values of global, cross-cultural, and future-oriented indigenous presents. Mixed Metaphors formed a continuation of the practices and approaches already in use at the museum, challenging characterizations of artist versus museum binaries. Through his intervention, Wilson opened the galleries up to meanings outside of the art and artifact paradigms of classification, interpretation, and display. Ultimately, the installations participated in questioning some of the organizing principles of the museum’s role as collectors and preservers of art and culture. 2 Jose Santos ArDivilla, Texas Tech University Plastic Nation: Filipino Contemporary Artists Utilize Plastic to Envisage the Plasticity of Identity This presentation delves into the notion of plastic as focus on both materiality and of identity, as recast by Filipino contemporary artists. The malleability of the plastic material is reflected on the shifting assertions of place, of ritual, and of extension or conflation of body, time, and place. These artists give “a new life” to what is generally considered a material of ecological deterioration. The lowly disposable plastic bag, much more akin to waste, becomes an instrument for exploration of pressing issues of national, ecological, and global iterations of displacement and consumption. Three contemporary Filipino artists—Marcelino Bugaoan, Renan Ortiz, and Leeroy New—mine through plastic material to investigate narratives from below. These three contemporary Filipino artists have used plastic material as indices for conflation and complication of violence of the cycles of poverty, resource mismanagement in rapacious capitalism, and waste as the essential by-product of globalization bracketed in nations. By repurposing and recasting plastic materials in art practice, contemporary art addresses issues of sustainability, climate change, and rapacious neoliberal capitalist consumerist cultures—rendering the plastic not as the main scourge but a symptom of a prevailing disease of resource abuse, global inequity, and waste mismanagement. Olivia ArmanDroff, Winterthur Program in American Material Culture A Woman’s Voice: Leila Mechlin and Art Criticism in the Early 20th Century As the leading art critic of her time in Washington, DC, Leila Mechlin played an essential role in shaping the art world at the turn of the 20th century. Born in 1874, she was raised in an artistic family, her grandfather, Jacob Hyatt, being a founder and engraver of the Bureau of Engraving and Printing, and her mother, Cornelia Stout Hyatt Mechlin, working as a genre and portrait painter. Although Mechlin received an artistic training at the Corcoran, she immediately embarked on a professional career as a commentator, not practitioner, and from 1900 to 1946 she served as The Evening Star’s art critic. This period saw the creation and development of Washington’s key art museums. In addition to her prolific output in ephemeral newspapers, Mechlin published on the subject in her 1914 book, Works of Art in Washington. Her expertise earned her an array of influential positions, such as the secretary of the American Federation of the Arts. This paper reflects a careful review of Mechlin’s writings, taking into account contemporaneous art-world trends to contextualize the role she played in transforming Washington into a cultural capital and addressing how a woman came to occupy such a powerful position. Meg Aubrey, Texas A&M University–Corpus Christi Laura Monahan, Texas A&M University–Corpus Christi The Intersection between Art and Nursing In 2016 Texas A&M University—Corpus Christi’s College of Nursing and Health Science was awarded a $2.7M Health Resource and Services Administration grant to develop a nursing curriculum incorporating the visual arts into an accelerated BSN course of study. Nursing is frequently defined as both an art and a science. This innovative program uses art education to enhance observation, critical thinking, and fine motor skills. This first-of-its-kind program 3 incorporates arts into each week of the fifteen-month-long accelerated BSN program. The program is Jointly taught by an art and a nursing professor and is designed to enhance visual observation skills, communication, collaboration, comfort with ambiguity, and the reduction of bias. Lectures,
Load more

Recommended publications
  • MAYA GLYPHS – Book 2
    Maya Numbers & TTTheThe Maya Calendar A Non-Technical Introduction to MAYA GLYPHS – Book 2 by Mark Pitts Maya Numbers and Maya Calendar by Mark Pitts © Mark Pitts 2009 This book is dedicated to the Maya people living today in Mesoamerica. Title Page: A Maya glyph signifying10 periods of about 20 years each, or about 200 years. From Palenque, Mexico. 2 Book 22:::: Maya Numbers & TTTheThe Maya Calendar A Non-Technical Introduction to MAYA GLYPHS Table of Contents 3 Book 2: Maya Numbers and the Maya Calendar CHAPTER 1 – WRITING NUMBERS WITH BARS AND DOTS • The Basics: The Number Zero and Base 20 • Numbers Greater Than 19 • Numbers Greater Than 399 • Numbers Greater Than 7999 CHAPTER 2 - WRITING NUMBERS WITH GLYPHS • Maya Head Glyphs • The Number 20 CHAPTER 3 – THE SACRED AND CIVIL CALENDAR OF THE MAYA • Overview of the Maya Calendar • An Example • The Sacred Calendar and Sacred Year (Tzolk’in) • The Civil Calendar and Civil Year (Haab) • The Calendar Round CHAPTER 4 - COUNTING TIME THROUGH THE AGES • The Long Count • How to Write a Date in Maya Glyphs • Reading Maya Dates • The Lords of the Night • Time and The Moon • Putting It All Together Appendix 1 – Special Days in the Sacred Year Appendix 2 – Maya Dates for 2004 4 Appendix 3 – Haab Patrons for Introductory Glyphs Resources Online Bibliography Sources of Illustrations Endnotes 5 Chapter 111.1. Writing Numbers wwwithwithithith Bars and Dots A Maya glyph from Copán that denotes 15 periods of about 20 years each, or about 300 years. 6 THE BASICS: THE NUMBER ZERO AND BASE 20 The ancient Maya created a civilization that was outstanding in many ways.
    [Show full text]
  • 2017 Abstracts
    Abstracts for the Annual SECAC Meeting in Columbus, Ohio October 25th-28th, 2017 Conference Chair, Aaron Petten, Columbus College of Art & Design Emma Abercrombie, SCAD Savannah The Millennial and the Millennial Female: Amalia Ulman and ORLAN This paper focuses on Amalia Ulman’s digital performance Excellences and Perfections and places it within the theoretical framework of ORLAN’s surgical performance series The Reincarnation of Saint Orlan. Ulman’s performance occurred over a twenty-one week period on the artist’s Instagram page. She posted a total of 184 photographs over twenty-one weeks. When viewed in their entirety and in relation to one another, the photographs reveal a narrative that can be separated into three distinct episodes in which Ulman performs three different female Instagram archetypes through the use of selfies and common Instagram image tropes. This paper pushes beyond the casual connection that has been suggested, but not explored, by art historians between the two artists and takes the comparison to task. Issues of postmodern identity are explored as they relate to the Internet culture of the 1990s when ORLAN began her surgery series and within the digital landscape of the Web 2.0 age that Ulman works in, where Instagram is the site of her performance and the selfie is a medium of choice. Abercrombie situates Ulman’s “image-body” performance within the critical framework of feminist performance practice, using the postmodern performance of ORLAN as a point of departure. J. Bradley Adams, Berry College Controlled Nature Focused on gardens, Adams’s work takes a range of forms and operates on different scales.
    [Show full text]
  • School of Art 2014–2015
    BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Art 2014–2015 School of Art 2014–2015 BULLETIN OF YALE UNIVERSITY Series 110 Number 1 May 15, 2014 BULLETIN OF YALE UNIVERSITY Series 110 Number 1 May 15, 2014 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, PO Box 208227, New Haven CT 06520-8227 status as a protected veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Kimberly M. Go≠-Crews University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and protected veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to Valarie Stanley, Director of the O∞ce for Equal Opportunity Programs, 221 Whitney Avenue, 3rd Floor, 203.432.0849.
    [Show full text]
  • Platform Feminism: Feminist Protest Space and the Politics of Spatial Organization
    Platform Feminism: Feminist Protest Space and the Politics of Spatial Organization by Rianka Singh A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Faculty of Information University of Toronto © Copyright by Rianka Singh 2020 Platform Feminism: Feminist Protest Space and the Politics of Spatial Organization Rianka Singh Doctor of Philosophy Faculty of Information University of Toronto 2020 Abstract Platform Feminism: Feminist Protest Space and the Politics of Spatial Organization examines the relationship between platforms and feminist politics. This dissertation proposes a new feminist media theory of the platform that positions the platform as a media object that elevates and amplifies some voices over others and renders marginal resistance tactics illegible. This dissertation develops the term “Platform Feminism” to describe an emerging view of digital platforms as always-already politically useful media for feminist empowerment. I argue that Platform Feminism has come to structure and dominate popular imaginaries of what a feminist politics is. In the same vein, the contemporary focus on digital platforms within media studies negates attention to the strategies of care, safety and survival that feminists who resist on the margins employ in the digital age. If we take seriously the imperative to survive rather than an overbearing commitment to speak up, then the platform’s role in feminism is revealed as limited in scope and potential. Through a mixed methodological approach via interviews with feminist activists, critical discourse analysis of platform protest materials, critical discourse analysis of news coverage and popular cultural responses to transnational feminist protests and participant observation within sites of feminist protest in Toronto, this dissertation argues that the platform is a media object that is over-determined in its political utility for Feminist politics and action.
    [Show full text]
  • Teaching to Transgress: Education As the Practice of Freedom Would Be a Book of Essays Mostly Directed to Teachers
    Teaching to Transgress This page intentionally left blank Teaching to Transgress Education as the Practice of Freedom bell hooks Routledge New York London Published in 1994 by Published in Great Britain by Routledge Routledge Taylor & Francis Group Taylor & Francis Group 711 Third Avenue 2 Park Square New York, NY 10017 Milton Park, Abingdon Oxon OX14 4RN Copyright © 1994 Gloria Watkins All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording or in any information storage or retrieval system, without permission in writing from the publishers. Library of Congress Cataloging-in-Publication Data hooks, bell. Teaching to transgress : education as the practice of freedom / bell hooks p. cm. Includes index ISBN 0-415-90807-8 — ISBN 0-415-90808-6 (pbk.) 1. Critical pedagogy. 2. Critical thinking—Study and teaching. 3. Feminism and education. 4. Teaching. I. Title. LC196.H66 1994 370.11 '5—dc20 94-26248 CIP to all my students, especially to LaRon who dances with angels in gratitude for all the times we start over—begin again— renew our joy in learning. “. to begin always anew, to make, to reconstruct, and to not spoil, to refuse to bureaucratize the mind, to understand and to live life as a process—live to become ...” —Paulo Freire This page intentionally left blank Contents Introduction I Teaching to Transgress 1 Engaged Pedagogy 13 2 A Revolution of Values 23 The Promise of Multicultural
    [Show full text]
  • Christie's Leads Americana Week in New York with a Series of Significant Collections
    For Immediate Release December 21, 2007 Contact: Sara Fox [email protected] 212.636.2680 CHRISTIE’S LEADS AMERICANA WEEK IN NEW YORK WITH A SERIES OF SIGNIFICANT COLLECTIONS Important American Silver ~ January 17 Important American Furniture, Folk Art, Prints and Decoys ~ January 17 - 18 Property from the Collection of George and Lesley Schoedinger ~ January 18 The Collection of Marguerite and Arthur Riordan, Stonington Connecticut ~ January 18 New York – Christie’s is honored to present several significant collections during Americana week on January 17-18 in New York with The Collection of Marguerite and Arthur Riordan, Stonington Connecticut, Property from the Collection of George and Lesley Schoedinger, Property of the Estate of Charles H. Carpenter, Jr., and Property from the Hirsch and Ethel D. Jacobs. Leading the Important American Furniture, Folk Art, Prints and Decoys sale is the Stevenson family scalloped-top tea table (estimate: $1,500,000- 2,500,000). This season of American Furniture and Decorative Arts will delight collectors with a range of rare objects — from waterfowl decoys to a collection of thoroughbred racing trophies. Following the recent record breaking sale in October 2007 of the “Garvan” carved pie-crust tea table, the focal point of the various owner sale is the Stevenson family Chippendale mahogany scalloped-top tea table (estimate: $1,500,000-2,500,000). Conceived and executed as a masterpiece, this tea table survives in a remarkable state of preservation. Its old, largely undisturbed surface reveals a magnificent mahogany grain and the full depth of its exuberant carving. The table’s elaborately carved details – described at that time as a ‘scalloped top’, ‘carved pillar’, ‘fluting for the pillar’, ‘leaves on knees’ and ‘claw feet’ – were among the attributes listed in Philadelphia’s 1772 cabinetmaker’s price book that made this design the most expensive option listed.
    [Show full text]
  • Mika Rottenberg
    MIKA ROTTENBERG 1976 Born in Buenos Aires, Argentina Lives and works in New York Formation 1998 Hamidrasha, Bait Berl College of Arts, Israel 2000 Bachelor of Fine Arts, School of Visual Arts, New York 2004 Master of Fine Arts, Columbia University, New York Solo Exhibitions 2019 Easypieces, New Museum, New York, USA Mika Rottenberg, Mambo, Bologna, Italy 2018 Museo d’Arte Moderna di Bologna, MAMbo Bologna, Italy Goldsmiths Centre for Contemporary Art, London, UK Bowls Balls Souls Holes, Sprüth Magers Berlin, Germany Kunsthaus Bregenz, Bregenz, Austria 2017 The Bass Museum of Art, Miami, USA 2016 Palais de Tokyo, Paris, France Galerie Laurent Godin, Paris, France 2015 Mika Rottenberg, Jupiter Artland Foundation, Edinburgh, UK 2014 Bowls Balls Souls Holes, Andrea Rosen Gallery, Main Gallery, New York, USA Mika Rottenberg: Bowls Balls Souls Holes, Rose Art Museum, Brandeix University, Waltham, USA 2013 Squeeze : Video Works by Mika Rottenberg, The Israel Museum, Jerusalem, Israel Sneeze to Squeeze, Magasin 3, Stockholm, Sweden 2012 Galerie Laurent Godin, Paris, France How Women Work, Nottingham Contemporary, UK Mary’s Cherries, FRAC Languedoc Roussillon, Montpellier, France Infinite #2, collaboration with Anna Harpaz, Petah Tikva Museum of Art, Israel 2011 Cheese, Squeeze & Tropical Breeze, M VA, Museum Leuven, Louvin, Belgium Dough, Cheese, Squeeze and Tropical Breeze, De Appel Art Centre, Amsterdam, The Netherlands Bonniers Konsthall, Stockholm, Sweden SEVEN, Performa 11 at Nicole Klagsbrun Project Space, New York, USA (with John Kessler)
    [Show full text]
  • Sally James Farnham and Model Horse Sculpting Grades 6-12
    Sally James Farnham and Model Horse Sculpting Grades 6-12 Farnham was commissioned by the Venezuelan government to sculpt an equestrian monument of Simon Bolivar, who was a military and political leader who played a great role in helping Hispanic empires in the struggle for independence against the Spanish empire. For our project, the students will be exposed to horse sculpting using wire armatures, Sculpey clay, horse models, and sculpting tools. Lesson Overview The grade level this lesson is designed for is 6-12 and the subject is art. The length of the lesson will be 45 minutes. This lesson will be considered a meaningful use task (M.U.T.) in a class that revolves around Sally James Farnham who enjoyed a career as a sculptor. Farnham was from Ogdensburg NY but spent most of her life living on Long Island. For the course offered, students will view a Power Point presentation about Farnham and her life, view her artworks first hand at the Frederic Remington Art Museum, and create the M.U.T. using model horse sculpting kits. Essential Question(s) Who was Sally James Farnham? How did she become an artist? Was there studying involved or was she self taught? What kind of art did she make? Does the fact that Sally James Farnham was a woman hold significance in her career choice? Was she successful in her career? Objectives By the end of this lesson, the students will be able to: Tell the instructor who Sally James Farnham was and what she did for a living Tell the instructor what types of artwork Sally made Describe the significance of Sally’s involvement in the art world as a woman artist competing for work NY Curriculum Standards NY.ART.K-12.1 Students will actively engage in the processes that constitute creation and performance in the arts (dance, music, theatre, and visual arts) and participate in various roles in the arts NY.ART.K-12.2 Students will be knowledgeable about and make use of the materials and resources available for participation in the arts in various roles.
    [Show full text]
  • The Pertelote
    HHHHH9HHHMHHBP IH^Hi perfefofe '64 it provides a deeper insight." ". the bounds- of learning have not been exhausted." revard, n.c. VV: • nter as individuals contents introduction 1 faculty 12 students 28 activities 76 athletics 102 features 124 soph, direct. 140 ". our regret should not discourage us . advertising 144 "Our romantic view . is shadowed by the realism of our presence." student 154 index Richard Jones Editor Jane Hoke Business Manager Mrs. C. E. Roy Adviser _ BREVARD COLLEGE A NEW REALITY Any college — old or young, large or small, must have a living personality separate and distinct from all others. This identity is what makes it worthy of its name. This personality, this individuality, should be deeply rooted in its philosophy and objectives, and revealed through its actions. Brevard College, living through its name and ideals, has maintained this distinct identity. Thus we, the students, come to Brevard College, realizing that there is another influence in life by which we may become transformed. Here we know we will continue our developing years of discovery — discovery of ourselves and our talents, of knowledge and of faith. We are so hesitant to approach this venture, so awed at first by the challenge. Our romantic view of college is shadowed by the realism of our presence. Thrown suddenly into a new encounter with life and individuals, we find that we are alone in a crowd, and that our first task is to make ourselves a part of this enterprise. We seem to be veterans after so little experience; but can we bear a close examination? Experience does not provide infallible knowledge each time, but accumu- lated, it provides a deeper insight.
    [Show full text]
  • Contemporary American Painting and Sculpture
    AT UR8ANA-GHAMPAIGN ARCHITECTURE The person charging this material is responsible for .ts return to the library from which it was withdrawn on or before the Latest Date stamped below '"" """"""'"9 "< "ooks are reason, ™racTo?,'l,°;'nary action and tor di,elpl(- may result in dismissal from To renew the ""'*'e™«y-University call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN I emp^rary American Painting and Sculpture University of Illinois Press, Urbana, 1959 Contemporary American Painting and Scuipttfre ^ University of Illinois, Urbana March 1, through April 5, 195 9 Galleries, Architecture Building College of Fine and Applied Arts (c) 1959 by the Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A4 8-34 i 75?. A^'-^ PDCEIMtBieiiRr C_>o/"T ^ APCMi.'rri'Ht CONTEMPORARY AMERICAN PAINTING AND SCULPTURE DAVID D. HENRY President of the University ALLEN S. WELLER Dean, College of Fine and Applied Arts Chairman, Festival of Contemporary Arts N. Britsky E. C. Rae W. F. Doolittlc H. A. Schultz EXHIBITION COMMITTEE D. E. Frith J. R. Shipley \'. Donovan, Chairman J. D. Hogan C. E. H. Bctts M. B. Martin P. W. Bornarth N. McFarland G. R. Bradshaw D. C. Miller C. W. Briggs R. Perlman L. R. Chesney L. H. Price STAFF COMMITTEE MEMBERS E. F. DeSoto J. W. Raushenbergcr C. A. Dietemann D. C. Robertson G. \. Foster F. J. Roos C. R. Heldt C. W. Sanders R. Huggins M. A. Sprague R. E. Huh R. A. von Neumann B. M. Jarkson L. M. Woodroofe R. Youngman J.
    [Show full text]
  • The Codex Mexicanus: a Guide to Life in Late Sixteenth-Century New Spain'
    H-LatAm DiCesare on Diel, 'The Codex Mexicanus: A Guide to Life in Late Sixteenth-Century New Spain' Review published on Friday, April 17, 2020 Lori Boornazian Diel. The Codex Mexicanus: A Guide to Life in Late Sixteenth-Century New Spain. Austin: University of Texas Press, 2018. Illustrations. x + 216 pp. $55.00 (cloth), ISBN 978-1-4773-1673-3. Reviewed by Catherine DiCesare (Colorado State University) Published on H-LatAm (April, 2020) Commissioned by Casey M. Lurtz (Johns Hopkins University) Printable Version: http://www.h-net.org/reviews/showpdf.php?id=54507 Lori Boornazian Diel’s recent study of the colonial book known as the Codex Mexicanus is a welcome addition to the literature on sixteenth-century manuscripts from central Mexico. Nahua intellectuals created the Codex Mexicanus in Mexico City in the last quarter of the sixteenth century. It is part of a large corpus of pictorial manuscripts created in the century following Spanish incursion, a compendium of information of special interest to the indigenous inhabitants of New Spain. The manuscript is a bound codex painted on native bark paper. Its format draws on both Aztec pictorial writing systems and European alphabetic text and images. The Codex Mexicanus is a valuable resource for scholars studying pre-Columbian and early colonial Mexico because it contains a wide variety of information. Its contents range from calendrical matters to astrology, beliefs about the natural world, the ancient lineage of Mexica rulers, and the history of the Mexica from their pre- Columbian migration to the arrival of Spaniards and Christianity. However, as Diel notes in the introduction (chapter 1), because of the seemingly disparate nature of its contents, scholars have not generally investigated the Codex Mexicanus in its entirety.
    [Show full text]
  • The Politics of Urban Cultural Policy Global
    THE POLITICS OF URBAN CULTURAL POLICY GLOBAL PERSPECTIVES Carl Grodach and Daniel Silver 2012 CONTENTS List of Figures and Tables iv Contributors v Acknowledgements viii INTRODUCTION Urbanizing Cultural Policy 1 Carl Grodach and Daniel Silver Part I URBAN CULTURAL POLICY AS AN OBJECT OF GOVERNANCE 20 1. A Different Class: Politics and Culture in London 21 Kate Oakley 2. Chicago from the Political Machine to the Entertainment Machine 42 Terry Nichols Clark and Daniel Silver 3. Brecht in Bogotá: How Cultural Policy Transformed a Clientist Political Culture 66 Eleonora Pasotti 4. Notes of Discord: Urban Cultural Policy in the Confrontational City 86 Arie Romein and Jan Jacob Trip 5. Cultural Policy and the State of Urban Development in the Capital of South Korea 111 Jong Youl Lee and Chad Anderson Part II REWRITING THE CREATIVE CITY SCRIPT 130 6. Creativity and Urban Regeneration: The Role of La Tohu and the Cirque du Soleil in the Saint-Michel Neighborhood in Montreal 131 Deborah Leslie and Norma Rantisi 7. City Image and the Politics of Music Policy in the “Live Music Capital of the World” 156 Carl Grodach ii 8. “To Have and to Need”: Reorganizing Cultural Policy as Panacea for 176 Berlin’s Urban and Economic Woes Doreen Jakob 9. Urban Cultural Policy, City Size, and Proximity 195 Chris Gibson and Gordon Waitt Part III THE IMPLICATIONS OF URBAN CULTURAL POLICY AGENDAS FOR CREATIVE PRODUCTION 221 10. The New Cultural Economy and its Discontents: Governance Innovation and Policy Disjuncture in Vancouver 222 Tom Hutton and Catherine Murray 11. Creating Urban Spaces for Culture, Heritage, and the Arts in Singapore: Balancing Policy-Led Development and Organic Growth 245 Lily Kong 12.
    [Show full text]