Art and Social Change a Critical Reader
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Fighting for France's Political Future in the Long Wake of the Commune, 1871-1880
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2013 Long Live the Revolutions: Fighting for France's Political Future in the Long Wake of the Commune, 1871-1880 Heather Marlene Bennett University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the European History Commons Recommended Citation Bennett, Heather Marlene, "Long Live the Revolutions: Fighting for France's Political Future in the Long Wake of the Commune, 1871-1880" (2013). Publicly Accessible Penn Dissertations. 734. https://repository.upenn.edu/edissertations/734 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/734 For more information, please contact [email protected]. Long Live the Revolutions: Fighting for France's Political Future in the Long Wake of the Commune, 1871-1880 Abstract The traumatic legacies of the Paris Commune and its harsh suppression in 1871 had a significant impact on the identities and voter outreach efforts of each of the chief political blocs of the 1870s. The political and cultural developments of this phenomenal decade, which is frequently mislabeled as calm and stable, established the Republic's longevity and set its character. Yet the Commune's legacies have never been comprehensively examined in a way that synthesizes their political and cultural effects. This dissertation offers a compelling perspective of the 1870s through qualitative and quantitative analyses of the influence of these legacies, using sources as diverse as parliamentary debates, visual media, and scribbled sedition on city walls, to explicate the decade's most important political and cultural moments, their origins, and their impact. -
Las Meninas (Group)
Las Meninas (group) Dated 17.8.57. on the back Cannes Oil on canvas 194 x 260 cm Donated by the artist, 1968 MPB 70.433 The work . Chronologically, this work is the first in the series where Picasso produced a personal interpretation of the whole of Velázquez’s work. The same characters as in Velázquez’s work appear here, although, with an aesthetically different form, with variations in certain elements of the composition. On the one hand, the vertical format is substituted for the horizontal. On the other, where in Velázquez's work the figure around whom the entire composition revolves is the Infanta Margarita, in Picasso's work, the Infanta still has an essential role but so does the figure of the painter who, shown in disproportionate size and holding two palettes, takes a major role, reinforcing in this way the idea that the most important thing in the entire creation of art is the artist himself. In this way, moving towards the right of the composition, the form simplifies and the figures to the right contrast with the more elaborate figures of Velázquez and the first 'menina'. Another major variant is the treatment of light and colour. This variation has a direct effect on the painting’s luminosity with the opening of large windows to the right which, in Velázquez’s work, remain closed. The lack of colour contrasts with this luminosity. Blacks and whites dominate the composition, whether on purpose since Picasso had used this resource before or due to the only reference he had being a large photographic blow-up in black and white. -
Heretics Proposal.Pdf
A New Feature Film Directed by Joan Braderman Produced by Crescent Diamond OVERVIEW ry in the first person because, in 1975, when we started meeting, I was one of 21 women who THE HERETICS is a feature-length experimental founded it. We did worldwide outreach through documentary film about the Women’s Art Move- the developing channels of the Women’s Move- ment of the 70’s in the USA, specifically, at the ment, commissioning new art and writing by center of the art world at that time, New York women from Chile to Australia. City. We began production in August of 2006 and expect to finish shooting by the end of June One of the three youngest women in the earliest 2007. The finish date is projected for June incarnation of the HERESIES collective, I remem- 2008. ber the tremendous admiration I had for these accomplished women who gathered every week The Women’s Movement is one of the largest in each others’ lofts and apartments. While the political movement in US history. Why then, founding collective oversaw the journal’s mis- are there still so few strong independent films sion and sustained it financially, a series of rela- about the many specific ways it worked? Why tively autonomous collectives of women created are there so few movies of what the world felt every aspect of each individual themed issue. As like to feminists when the Movement was going a result, hundreds of women were part of the strong? In order to represent both that history HERESIES project. We all learned how to do lay- and that charged emotional experience, we out, paste-ups and mechanicals, assembling the are making a film that will focus on one group magazines on the floors and walls of members’ in one segment of the larger living spaces. -
Activism and Ironic Identities Amber Day Bryant University, [email protected]
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DigitalCommons@Bryant University Bryant University DigitalCommons@Bryant University English and Cultural Studies Faculty Publications English and Cultural Studies Journal Articles and Research 2008 Are They for Real? Activism and Ironic Identities Amber Day Bryant University, [email protected] Follow this and additional works at: https://digitalcommons.bryant.edu/eng_jou Part of the Civic and Community Engagement Commons, Mass Communication Commons, and the Rhetoric Commons Recommended Citation Day, Amber, "Are They for Real? Activism and Ironic Identities" (2008). English and Cultural Studies Journal Articles. Paper 86. https://digitalcommons.bryant.edu/eng_jou/86 This Article is brought to you for free and open access by the English and Cultural Studies Faculty Publications and Research at DigitalCommons@Bryant University. It has been accepted for inclusion in English and Cultural Studies Journal Articles by an authorized administrator of DigitalCommons@Bryant University. For more information, please contact [email protected]. Amber Day 1 Are They For Real? Activism and Ironic Identities Political activists have not historically been known for their fun-loving sense of humor and playfulness. Nor do they have a reputation for communicating in riddles, deliberately speaking the opposite of what they mean. However, as the realities of mass media communication have evolved, so too have the tactics employed by activists for capturing the media spotlight. More and more groups are now building their actions around a playfully ironic sensibility, creating attention-getting stunts, graphics, and slogans, along with pre-packaged media sound-bites. Within this larger trend, one particular tactic involves a form of masquerade, as groups very deliberately assume the identities of their opponents. -
Patricia Hills Professor Emerita, American and African American Art Department of History of Art & Architecture, Boston University [email protected]
1 Patricia Hills Professor Emerita, American and African American Art Department of History of Art & Architecture, Boston University [email protected] Education Feb. 1973 PhD., Institute of Fine Arts, New York University. Thesis: "The Genre Painting of Eastman Johnson: The Sources and Development of His Style and Themes," (Published by Garland, 1977). Adviser: Professor Robert Goldwater. Jan. 1968 M.A., Hunter College, City University of New York. Thesis: "The Portraits of Thomas Eakins: The Elements of Interpretation." Adviser: Professor Leo Steinberg. June 1957 B.A., Stanford University. Major: Modern European Literature Professional Positions 9/1978 – 7/2014 Department of History of Art & Architecture, Boston University: Acting Chair, Spring 2009; Spring 2012. Chair, 1995-97; Professor 1988-2014; Associate Professor, 1978-88 [retired 2014] Other assignments: Adviser to Graduate Students, Boston University Art Gallery, 2010-2011; Director of Graduate Studies, 1993-94; Director, BU Art Gallery, 1980-89; Director, Museum Studies Program, 1980-91 Affiliated Faculty Member: American and New England Studies Program; African American Studies Program April-July 2013 Terra Foundation Visiting Professor, J. F. Kennedy Institute for North American Studies, Freie Universität, Berlin 9/74 - 7/87 Adjunct Curator, 18th- & 19th-C Art, Whitney Museum of Am. Art, NY 6/81 C. V. Whitney Lectureship, Summer Institute of Western American Studies, Buffalo Bill Historical Center, Cody, Wyoming 9/74 - 8/78 Asso. Prof., Fine Arts/Performing Arts, York College, City University of New York, Queens, and PhD Program in Art History, Graduate Center. 1-6/75 Adjunct Asso. Prof. Grad. School of Arts & Science, Columbia Univ. 1/72-9/74 Asso. -
The Sixties Counterculture and Public Space, 1964--1967
University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Spring 2003 "Everybody get together": The sixties counterculture and public space, 1964--1967 Jill Katherine Silos University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation Silos, Jill Katherine, ""Everybody get together": The sixties counterculture and public space, 1964--1967" (2003). Doctoral Dissertations. 170. https://scholars.unh.edu/dissertation/170 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
NEO-Orientalisms UGLY WOMEN and the PARISIAN
NEO-ORIENTALISMs UGLY WOMEN AND THE PARISIAN AVANT-GARDE, 1905 - 1908 By ELIZABETH GAIL KIRK B.F.A., University of Manitoba, 1982 B.A., University of Manitoba, 1983 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN THE FACULTY OF GRADUATE STUDIES (Department of Fine Arts) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA . October 1988 <£> Elizabeth Gail Kirk, 1988 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Fine Arts The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Date October, 1988 DE-6(3/81) ABSTRACT The Neo-Orientalism of Matisse's The Blue Nude (Souvenir of Biskra), and Picasso's Les Demoiselles d'Avignon, both of 1907, exists in the similarity of the extreme distortion of the female form and defines the different meanings attached to these "ugly" women relative to distinctive notions of erotic and exotic imagery. To understand Neo-Orientalism, that is, 19th century Orientalist concepts which were filtered through Primitivism in the 20th century, the racial, sexual and class antagonisms of the period, which not only influenced attitudes towards erotic and exotic imagery, but also defined and categorized humanity, must be considered in their historical context. -
PRICES REALIZED DETAIL - Frazetta Auction 79, Auction Date
26662 Agoura Road, Calabasas, CA 91302 Tel: 310.859.7701 Fax: 310.859.3842 PRICES REALIZED DETAIL - Frazetta Auction 79, Auction Date: LOT ITEM PRICE PREMIUM 1 (FRAZETTA) TARZAN THE INVINCIBLE. $65,000 $13,000 2 (FRAZETTA) TARZAN AT THE EARTH’S CORE. $55,000 $11,000 3 (FRAZETTA) SUMMER OF THE COUP. $35,000 $7,000 4 (FRAZETTA) THE LION QUEEN. $140,000 $39,200 5 (FRAZETTA) CONAN AND THE SAVAGE SEA (CONAN THE BUCCANEER). $15,000 $3,000 6 (FRAZETTA) ABSTRACT. $2,000 $400 7 (FRAZETTA) FLASH GORDON “BATTLES THE MONSTER FROM MONGO”. $55,000 $15,400 8 (FRAZETTA) FLASH GORDON AND “PRINCESS OF MONGO”. $32,500 $6,500 9 (FRAZETTA) A GENTLE BREEZE. $60,000 $16,800 10 (FRAZETTA) WINDBLOWN. $20,000 $4,000 11 (FRAZETTA) SELF-PORTRAIT #1. $15,000 $3,000 12 (FRAZETTA) SELF-PORTRAIT #2. $5,000 $1,000 13 (FRAZETTA) TARZAN AT THE EARTH’S CORE COVER. $40,000 $8,000 14 (FRAZETTA) TARZAN AND THE CASTAWAYS COVER. $85,000 $23,800 15 (FRAZETTA) TARZAN AND THE CASTAWAYS. $30,000 $8,400 16 (FRAZETTA) TARZAN AND THE GOLDEN LION. $55,000 $11,000 Page 1 of 8 26662 Agoura Road, Calabasas, CA 91302 Tel: 310.859.7701 Fax: 310.859.3842 PRICES REALIZED DETAIL - Frazetta Auction 79, Auction Date: LOT ITEM PRICE PREMIUM 17 (FRAZETTA) LORD OF THE SAVAGE JUNGLE. $100,000 $28,000 18 (FRAZETTA) AT EARTH’S CORE. $32,500 $6,500 19 (FRAZETTA) AT THE EARTH’S CORE. $40,000 $8,000 20 (FRAZETTA) KUBLA KHAN PORTFOLIO. $55,000 $11,000 21 (FRAZETTA) KUBLA KHAN PORTFOLIO. -
Networking Surrealism in the USA. Agents, Artists and the Market
151 Toward a New “Human Consciousness”: The Exhibition “Adventures in Surrealist Painting During the Last Four Years” at the New School for Social Research in New York, March 1941 Caterina Caputo On January 6, 1941, the New School for Social Research Bulletin announced a series of forthcoming surrealist exhibitions and lectures (fig. 68): “Surrealist Painting: An Adventure into Human Consciousness; 4 sessions, alternate Wednesdays. Far more than other modern artists, the Surrea- lists have adventured in tapping the unconscious psychic world. The aim of these lectures is to follow their work as a psychological baro- meter registering the desire and impulses of the community. In a series of exhibitions contemporaneous with the lectures, recently imported original paintings are shown and discussed with a view to discovering underlying ideas and impulses. Drawings on the blackboard are also used, and covered slides of work unavailable for exhibition.”1 From January 22 to March 19, on the third floor of the New School for Social Research at 66 West Twelfth Street in New York City, six exhibitions were held presenting a total of thirty-six surrealist paintings, most of which had been recently brought over from Europe by the British surrealist painter Gordon Onslow Ford,2 who accompanied the shows with four lectures.3 The surrealist events, arranged by surrealists themselves with the help of the New School for Social Research, had 1 New School for Social Research Bulletin, no. 6 (1941), unpaginated. 2 For additional biographical details related to Gordon Onslow Ford, see Harvey L. Jones, ed., Gordon Onslow Ford: Retrospective Exhibition, exh. -
To Outsmart an Alien Study of Comics As a Narrational Medium
Faculty of New Media Arts Graphic Design 2D Visualisation Inga Siek S17419 Bachelor diploma work To Outsmart An Alien Matt Subieta Chief Supervisor Marcin Wichrowski Technical Supervisor Study of Comics as a Narrational Medium Anna Machwic Theoretical Supervisor Klaudiusz Ślusarczyk Language Supervisor Warsaw, July, 2020 1 Wydział Nowych Mediów Grafika Komputerowa Wizualizacja 2D Inga Siek S17419 Praca Licencjacka Przechytrzyć Kosmitę Matt Subieta Główny Promotor Marcin Wichrowski Techniczny Promotor Badanie Komiksów jako Medium Narracji Anna Machwic Teoretyczny Promotor Klaudiusz Ślusarczyk Promotor Językowy Warszawa, Lipiec, 2020 2 This thesis is dedicated to the study and analysis of comics, both in terms of history and practice, as well as it is an attempt to change the common view of the practice as immature and primitive. In order to develop a good understanding of what comics are and their origins, this work starts by giving the reader a quick historical overview of the genre and its predecessor, sequential art. The reader will learn not only about the roots of comic illustration design but also its modern influences. The paper will refer to major names in the industry, and well as identify important historical events, both of which helped steer comics into the direction they are today. Additionally, descriptions of the main elements of comics will be provided. The last chapter will supply a number of examples in the utilizations of comic design components that include story, characters, panels and text by different artists who helped shape the craft of comics, and hopefully this will inspire the reader as well as provoke them to start viewing comics in a different, or perhaps even more positive light. -
Documents (Pdf)
Documents_ 18.7 7/18/01 11:40 AM Page 212 Documents 1915 1918 Exhibition of Paintings by Cézanne, Van Gogh, Picasso, Tristan Tzara, 25 poèmes; H Arp, 10 gravures sur bois, Picabia, Braque, Desseignes, Rivera, New York, Zurich, 1918 ca. 1915/16 Flyer advertising an edition of 25 poems by Tristan Tzara Flyer with exhibition catalogue list with 10 wood engravings by Jean (Hans) Arp 1 p. (folded), 15.3x12 Illustrated, 1 p., 24x16 1916 Tristan Tzara lira de ses oeuvres et le Manifeste Dada, Autoren-Abend, Zurich, 14 July 1916 Zurich, 23 July 1918 Program for a Dada event in the Zunfthaus zur Waag Flyer announcing a soirée at Kouni & Co. Includes the 1 p., 23x29 above advertisement Illustrated, 2 pp., 24x16 Cangiullo futurista; Cafeconcerto; Alfabeto a sorpresa, Milan, August 1916 Program published by Edizioni futuriste di “Poesia,” Milan, for an event at Grand Eden – Teatro di Varietà in Naples Illustrated, 48 pp., 25.2x17.5 Pantomime futuriste di Francesco Cangiullo, Rome, 1916 Flyer advertising an event at the Club al Cantastorie 1 p., 35x50 Galerie Dada envelope, Zurich, 1916 1 p., 12x15 Stationary headed ”Mouvement Dada, Zurich,“ Zurich, ca. 1916 1 p., 14x22 Stationary headed ”Mouvement Dada, Zeltweg 83,“ Zurich, ca. 1916 Club Dada, Prospekt des Verlags Freie Strasse, Berlin, 1918 1 p., 12x15 Booklet with texts by Richard Huelsenbeck, Franz Jung, and Raoul Hausmann Mouvement Dada – Abonnement Liste, Zurich, ca. 1916 Illustrated, 16 pp., 27.1x20 Subscription form for Dada publications 1 p., 28x20.5 Centralamt der Dadaistischen Bewegung, Berlin, ca. 1918–19 1917 Stationary of Richard Huelsenbeck with heading of the Sturm Ausstellung, II Serie, Zurich, 14 April 1917 Dada Movement Central Office Catalogue of an exhibition at the Galerie Dada. -
Dada Surrealism and Expressionism
• Dada was an art movement formed during the First World War in Zurich in 1916 in negative reaction to the horrors and folly of the war. The art, poetry and performance produced by Dada artists is often satirical and nonsensical in nature. Dada artists felt war called into question every aspect of society and their aim was to destroy all traditional values and assumptions. Dada was also anti-bourgeois and aligned with the radical left. The founder of Dada was a writer, Hugo Ball and in 1916 he started a satirical night-club in Zurich, the Cabaret Voltaire. Dada became an international movement and was the basis of Surrealism in Paris after the war. Leading artists associated with it include Jean Arp (1886-1966), Marcel Duchamp (1887-1968), Francis Picabia (1879-1953) and Kurt Schwitters (1887- 1948). Duchamp’s questioning of the fundamentals of Western art had a profound subsequent influence. • Surrealism was founded by French poet André Breton in Paris in 1924 and it became an international movement including British Surrealism which formed in 1936. Surrealists were strongly influenced by Sigmund Freud (the founder of psychoanalysis) and his theories about the unconscious and the aim of the movement was to reveal the unconscious and reconcile it with rational life. Key artists involved in the movement were Salvador Dalí, Max Ernst, René Magritte and Joan Miró. Two broad types of surrealism can be seen: one based on dreamlike imagery and the other on automatism (a process of making which unleashed the unconscious by drawing or writing without conscious thought). Some (such as Max Ernst) used new techniques such as frottage and collage to create unusual imagery.