Constructing a Third Space
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A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/ 84893 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications Culture is a Weapon: Popular Music, Protest and Opposition to Apartheid in Britain David Toulson A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in History University of Warwick Department of History January 2016 Table of Contents Acknowledgements………………………………………………………………...iv Declaration………………………………………………………………………….v Abstract…………………………………………………………………………….vi Introduction………………………………………………………………………..1 ‘A rock concert with a cause’……………………………………………………….1 Come Together……………………………………………………………………...7 Methodology………………………………………………………………………13 Research Questions and Structure…………………………………………………22 1)“Culture is a weapon that we can use against the apartheid regime”……...25 The Cultural Boycott and the Anti-Apartheid Movement…………………………25 ‘The Times They Are A Changing’………………………………………………..34 ‘Culture is a weapon of struggle’………………………………………………….47 Rock Against Racism……………………………………………………………...54 ‘We need less airy fairy freedom music and more action.’………………………..72 2) ‘The Myth -
Thames Valley Papists from Reformation to Emancipation 1534 - 1829
Thames Valley Papists From Reformation to Emancipation 1534 - 1829 Tony Hadland Copyright © 1992 & 2004 by Tony Hadland All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form, or by any means – electronic, mechanical, photocopying, recording or otherwise – without prior permission in writing from the publisher and author. The moral right of Tony Hadland to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act, 1988. British Library Cataloguing-in-Publication Data A catalogue for this book is available from the British Library. ISBN 0 9547547 0 0 First edition published as a hardback by Tony Hadland in 1992. This new edition published in soft cover in April 2004 by The Mapledurham 1997 Trust, Mapledurham HOUSE, Reading, RG4 7TR. Pre-press and design by Tony Hadland E-mail: [email protected] Printed by Antony Rowe Limited, 2 Whittle Drive, Highfield Industrial Estate, Eastbourne, East Sussex, BN23 6QT. E-mail: [email protected] While every effort has been made to ensure accuracy, neither the author nor the publisher can be held responsible for any loss or inconvenience arising from errors contained in this work. Feedback from readers on points of accuracy will be welcomed and should be e-mailed to [email protected] or mailed to the author via the publisher. Front cover: Mapledurham House, front elevation. Back cover: Mapledurham House, as seen from the Thames. A high gable end, clad in reflective oyster shells, indicated a safe house for Catholics. -
Kristine Stiles
Concerning Consequences STUDIES IN ART, DESTRUCTION, AND TRAUMA Kristine Stiles The University of Chicago Press Chicago and London KRISTINE STILES is the France Family Professor of Art, Art Flistory, and Visual Studies at Duke University. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2016 by Kristine Stiles All rights reserved. Published 2016. Printed in the United States of America 24 23 22 21 20 19 18 17 16 15 12345 ISBN13: 9780226774510 (cloth) ISBN13: 9780226774534 (paper) ISBN13: 9780226304403 (ebook) DOI: 10.7208/chicago/9780226304403.001.0001 Library of Congress CataloguinginPublication Data Stiles, Kristine, author. Concerning consequences : studies in art, destruction, and trauma / Kristine Stiles, pages cm Includes bibliographical references and index. ISBN 9780226774510 (cloth : alkaline paper) — ISBN 9780226774534 (paperback : alkaline paper) — ISBN 9780226304403 (ebook) 1. Art, Modern — 20th century. 2. Psychic trauma in art. 3. Violence in art. I. Title. N6490.S767 2016 709.04'075 —dc23 2015025618 © This paper meets the requirements of ANSI/NISO z39.481992 (Permanence of Paper). In conversation with Susan Swenson, Kim Jones explained that the drawing on the cover of this book depicts directional forces in "an Xman, dotman war game." The rectangles represent tanks and fortresses, and the lines are for tank movement, combat, and containment: "They're symbols. They're erased to show movement. 111 draw a tank, or I'll draw an X, and erase it, then redraw it in a different posmon... -
Play and No Work? a 'Ludistory' of the Curatorial As Transitional Object at the Early
All Play and No Work? A ‘Ludistory’ of the Curatorial as Transitional Object at the Early ICA Ben Cranfield Tate Papers no.22 Using the idea of play to animate fragments from the archive of the Institute of Contemporary Arts, this paper draws upon notions of ‘ludistory’ and the ‘transitional object’ to argue that play is not just the opposite of adult work, but may instead be understood as a radical act of contemporary and contingent searching. It is impossible to examine changes in culture and its meaning in the post-war period without encountering the idea of play as an ideal mode and level of experience. From the publication in English of historian Johan Huizinga’s Homo Ludens in 1949 to the appearance of writer Richard Neville’s Play Power in 1970, play was used to signify an enduring and repressed part of human life that had the power to unite and oppose, nurture and destroy in equal measure.1 Play, as related by Huizinga to freedom, non- instrumentality and irrationality, resonated with the surrealist roots of the Institute of Contemporary Arts (ICA) in London and its attendant interest in the pre-conscious and unconscious.2 Although Huizinga and Neville did not believe play to be the exclusive preserve of childhood, a concern for child development and for the role of play in childhood grew in the post-war period. As historian Roy Kozlovsky has argued, the idea of play as an intrinsic and vital part of child development and as something that could be enhanced through policy making was enshrined within the 1959 Declaration of the -
New Books on Art & Culture
S11_cover_OUT.qxp:cat_s05_cover1 12/2/10 3:13 PM Page 1 Presorted | Bound Printed DISTRIBUTEDARTPUBLISHERS,INC Matter U.S. Postage PAID Madison, WI Permit No. 2223 DISTRIBUTEDARTPUBLISHERS . SPRING 2011 NEW BOOKS ON SPRING 2011 BOOKS ON ART AND CULTURE ART & CULTURE ISBN 978-1-935202-48-6 $3.50 DISTRIBUTED ART PUBLISHERS, INC. 155 SIXTH AVENUE 2ND FLOOR NEW YORK NY 10013 WWW.ARTBOOK.COM GENERAL INTEREST GeneralInterest 4 SPRING HIGHLIGHTS ArtHistory 64 Art 76 BookDesign 88 Photography 90 Writings&GroupExhibitions 102 Architecture&Design 110 Journals 118 MORE NEW BOOKS ON ART & CULTURE Special&LimitedEditions 124 Art 125 GroupExhibitions 147 Photography 157 Catalogue Editor Thomas Evans Architecture&Design 169 Art Direction Stacy Wakefield Forte Image Production Nicole Lee BacklistHighlights 175 Data Production Index 179 Alexa Forosty Copy Writing Sara Marcus Cameron Shaw Eleanor Strehl Printing Royle Printing Front cover image: Mark Morrisroe,“Fascination (Jonathan),” c. 1983. C-print, negative sandwich, 40.6 x 50.8 cm. F.C. Gundlach Foundation. © The Estate of Mark Morrisroe (Ringier Collection) at Fotomuseum Winterthur. From Mark Morrisroe, published by JRP|Ringier. See Page 6. Back cover image: Rodney Graham,“Weathervane (West),” 2007. From Rodney Graham: British Weathervanes, published by Christine Burgin/Donald Young. See page 87. Takashi Murakami,“Flower Matango” (2001–2006), in the Galerie des Glaces at Versailles. See Murakami Versailles, published by Editions Xavier Barral, p. 16. GENERAL INTEREST 4 | D.A.P. | T:800.338.2665 F:800.478.3128 GENERAL INTEREST Drawn from the collection of the Library of Congress, this beautifully produced book is a celebration of the history of the photographic album, from the turn of last century to the present day. -
The Beatles on Film
Roland Reiter The Beatles on Film 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 1 ) T00_01 schmutztitel - 885.p 170758668456 Roland Reiter (Dr. phil.) works at the Center for the Study of the Americas at the University of Graz, Austria. His research interests include various social and aesthetic aspects of popular culture. 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 2 ) T00_02 seite 2 - 885.p 170758668496 Roland Reiter The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 3 ) T00_03 titel - 885.p 170758668560 Gedruckt mit Unterstützung der Universität Graz, des Landes Steiermark und des Zentrums für Amerikastudien. Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.ddb.de © 2008 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Layout by: Kordula Röckenhaus, Bielefeld Edited by: Roland Reiter Typeset by: Roland Reiter Printed by: Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-89942-885-8 2008-12-11 13-18-49 --- Projekt: transcript.titeleien / Dokument: FAX ID 02a2196899938240|(S. 4 ) T00_04 impressum - 885.p 196899938248 CONTENTS Introduction 7 Beatles History – Part One: 1956-1964 -
Hawkwind, 1973
Hawkwind, 1973 Transcription of excerpts from interviews with David Roberts, Bruce Enzer and Will Stone (2018) David: It was 1973, I was 14 in the September. And it was to go and see Hawkwind, they were doing what they called The Space Ritual Tour. So Lemmy was still playing bass with them then. Had a hit single with Silver Machine. So I'd seen them on Top of the Pops and really wanted to see the band. Ian, who is a year older than me said, “We can go David, I’ll get some tickets.” And I remember he said, “We’ll go to the Beauchamp Hotel for a drink first.” Now I was only 14, so not only was it my first gig, but it was my first under age drink really. I remember him going up to the bar and buying me a bottle of Newcastle Brown in the Beauchamp Hotel. And I remember everybody outside of the Winter Gardens, there was a big, what I remember to be a very large crowd outside the Winter Gardens waiting for the doors to open. And that was a feature of going to the Winter Gardens then, was people would get there before the doors opened and would be waiting outside. And I remember feeling very excited about this, and a little scared. I then remember going in the hall and everybody, everybody sat down on the floor. It's effectively a dance hall, there were no seats in there, and everybody sat cross legged on the floor. And we got quite close up to the front. -
Book Proposal 3
Rock and Roll has Tender Moments too... ! Photographs by Chalkie Davies 1973-1988 ! For as long as I can remember people have suggested that I write a book, citing both my exploits in Rock and Roll from 1973-1988 and my story telling abilities. After all, with my position as staff photographer on the NME and later The Face and Arena, I collected pop stars like others collected stamps, I was not happy until I had photographed everyone who interested me. However, given that the access I had to my friends and clients was often unlimited and 24/7 I did not feel it was fair to them that I should write it all down. I refused all offers. Then in 2010 I was approached by the National Museum of Wales, they wanted to put on a retrospective of my work, this gave me a special opportunity. In 1988 I gave up Rock and Roll, I no longer enjoyed the music and, quite simply, too many of my friends had died, I feared I might be next. So I put all of my negatives into storage at a friends Studio and decided that maybe 25 years later the images you see here might be of some cultural significance, that they might be seen as more than just pictures of Rock Stars, Pop Bands and Punks. That they even might be worthy of a Museum. So when the Museum approached me three years ago with the idea of a large six month Retrospective in 2015 I agreed, and thought of doing the usual thing and making a Catalogue. -
Because the Trent Book Shop Is in Nottingham Hannah Neate
Because The Trent Book Shop is in Nottingham Hannah Neate In 1972 Stuart Mills, co-founder of the Tarasque Press, made the following comment in the catalogue for the exhibition ‘Metaphor and Motif’ held at Nottingham’s Midland Group Gallery: This exhibition, in its own way, sets the balance straight. If it is seen, if the catalogue is read widely enough then it should be clear that something surprisingly consistent has been going on in Nottingham for the past few years. This chapter is an attempt to explain some of the activities to which Mills was alluding. It is a story of an overlooked literary and artistic life in Nottingham from 1964 to 1972 which centred on the Trent Book Shop. This was a brief but significant period when avant-garde bookselling and the British Poetry Revival came to the East Midlands. The Trent Book Shop In his memoir of life in Nottingham in the sixties Ray Gosling describes how: There were books and magazines that you could only buy in special places, lots of little magazines from Greenwich Village, New York City, and all over the English-speaking world. Stuart and Martin who drank in Yate’s Wine Lodge and listened to the trio with us were teachers. They went part-time and opened an avant-garde bookshop, the first of its kind in our town to sell these free-thinking books.1 The shop to which Gosling refers to is the Trent Book Shop, opened in 1964 by Stuart Mills and Martin Parnell on Pavilion Road, in the West Bridgford area of Nottingham. -
Postmodernism
Black POSTMODERNISM STYLE AND SUBVERSION, 1970–1990 TJ254-3-2011 IMUK VLX0270 Postmodernism W:247mmXH:287mm 175L 130 Stora Enso M/A Magenta(V) 130 Stora Enso M/A 175L IMUK VLX0270 Postmodernism W:247mmXH:287mm TJ254-3-2011 1 Black Black POSTMODERNISM STYLE AND SUBVERSION, 1970–1990 TJ254-3-2011 IMUK VLX0270 Postmodernism W:247mmXH:287mm 175L 130 Stora Enso M/A Magenta(V) 130 Stora Enso M/A 175L IMUK VLX0270 Postmodernism W:247mmXH:287mm TJ254-3-2011 Edited by Glenn Adamson and Jane Pavitt V&A Publishing TJ254-3-2011 IMUK VLX0270 Postmodernism W:247mmXH:287mm 175L 130 Stora Enso M/A Magenta(V) 130 Stora Enso M/A 175L IMUK VLX0270 Postmodernism W:247mmXH:287mm TJ254-3-2011 2 3 Black Black Exhibition supporters Published to accompany the exhibition Postmodernism: Style and Subversion, 1970 –1990 Founded in 1976, the Friends of the V&A encourage, foster, at the Victoria and Albert Museum, London assist and promote the charitable work and activities of 24 September 2011 – 15 January 2012 the Victoria and Albert Museum. Our constantly growing membership now numbers 27,000, and we are delighted that the success of the Friends has enabled us to support First published by V&A Publishing, 2011 Postmodernism: Style and Subversion, 1970–1990. Victoria and Albert Museum South Kensington Lady Vaizey of Greenwich CBE London SW7 2RL Chairman of the Friends of the V&A www.vandabooks.com Distributed in North America by Harry N. Abrams Inc., New York The exhibition is also supported by © The Board of Trustees of the Victoria and Albert Museum, 2011 The moral right of the authors has been asserted. -
And Acquaintances Recall Their Dealings with The
REASONS TO BE CHEERFUL: THE LIFE AND WORK OF BARNEY BUBBLES by paul gorman Book reviewed by Andy Martin 2 4 1 In 1974, forsaking the wisdom with finesse and melon twisting and acquaintances recall their early ‘impersonators’ (some of of my art college tutors in favour packaging concepts. And for me, dealings with the man, sometimes whom ‘fess up’ in the book) went of long afternoons in the library, there lies Barney Bubbles’ secret, with great poignancy, such as ex- on to define the subsequent I stumbled upon the works of namely his ability to look Stiff Records’ staffer Susan Spiro cultural period, and all of them Eduardo Paolozzi, Constructivism, backwards and forwards at the recalling Bubbles’ ability (me included) owe this man a Krazy Kat, and a strange volume same time, whilst always to see the beauty in everyday huge debt. by Charles Jenks, Adhocism – managing to arrive at The Very objects. There is ample evidence This book is a treasure trove The Case for Improvisation. Point of Now-ness. also that alongside his own for image-makers across all Within a couple of years I noticed As it progresses, the book image-making he was no slouch media, and a reminder that the a similar admix of ideas gives us epoch-defining glimpses when it came to art direction, graphic bombs Barney Bubbles appearing in the work of one of a shuddering cultural drawing on the talents of some dropped are still reverberating. man, but due to his reluctance landscape, clouds of patchouli of the most forward thinking In the words of the late great to credit his artworks, time would oil fade and a new world forms, photographers of the era, Brian Ian Dury: there ain’t half been have to pass before the author’s accompanied by the distinct whiff Griffin and Chris Gabrin amongst some clever bastards. -
The Working Practices of Barney Bubbles | I-D Online 28/09/2010 22:59
PROCESS: The Working Practices of Barney Bubbles | i-D Online 28/09/2010 22:59 Home » i-Spy » PROCESS: The Working Practices of Barney Bubbles search - Published by i-D 11:49 GMT 22/09/10 More + Cited as a major influence to contemporary practitioners including Peter Saville, Malcolm Garrett and Neville Brody, Barney Bubbles was a radical graphic artist. Coinciding with the London Design Festival, last night the CHELSEA Space celebrated its latest exhibition showcasing the working processes of the late master designer. Born Colin Fulcher (he loved a pseudonym and stuck with Bubbles in 67), the enigmatic designer worked across the disciplines of graphic design, painting and music video direction, working with artists including Ian Drury, Elvis Costello, Billy Bragg and Iggy Pop. Referred to as "the missing link between Pop and Culture" by Peter Saville, Bubbles was most renowned for his work with the British independent music scene during the 70s and early 80s. Fellow designer Julian Balme who created sleeves for Madness, Clash and Adam and The Ants and would often visit Bubbles at his studio, told i-D Online, "Bubbles taught me more than any other university lecturer". More + Curated by Paul Gorman, PROCESS includes an array of work never previously shown, most of it borrowed from private collections. The displays are fascinating and represent the varying stages of Bubbles' creative life, including student notebooks, reference materials, his CV, original artwork, books, magazines, paintings, photography, record sleeves, T-shirts, posters, advertisements, badges and stickers and videos directed by Bubbles. Together, the exhibition clearly demonstrates the designer's signature style.