Relevant bibliographies by topics / Blake Art Prize History

Academic literature on the topic 'Blake Art Prize History'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Blake Art Prize History"

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Riley, Glenda. "Prize Reflections: 1992 Western History Association Prize Winners and the Art of Western History." Western Historical Quarterly 24, no. 3 (August 1993): 377–81. http://dx.doi.org/10.1093/whq/24.3.377.

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Hardy, Stephen, and Elliott J. Gorn. "The Manly Art: Bare-Knuckle Prize Fighting in America." Journal of American History 74, no. 2 (September 1987): 525. http://dx.doi.org/10.2307/1900086.

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Miles, Ellen G., and Morris Eaves. "The Counter-Arts Conspiracy: Art and Industry in the Age of Blake." Technology and Culture 35, no. 3 (July 1994): 636. http://dx.doi.org/10.2307/3106288.

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Anderson, Patricia, and Morris Eaves. "The Counter-Arts Conspiracy: Art and Industry in the Age of Blake." American Historical Review 99, no. 3 (June 1994): 898. http://dx.doi.org/10.2307/2167822.

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Brodsky, Joseph. "Nobel Prize Speech." Index on Censorship 17, no. 2 (February 1988): 12–15. http://dx.doi.org/10.1080/03064228808534364.

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‘Regardless of whose image we are created in, we already number five billion, and there is no other future for a human being save that outlined by art. Otherwise, what lies ahead is the past — the political one, first of all, with all its mass police entertainments.’
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Rosenzweig, Roy, and Elliott J. Gorn. "The Manly Art: Bare-Knuckle Prize Fighting in America." American Historical Review 93, no. 5 (December 1988): 1398. http://dx.doi.org/10.2307/1873695.

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Crawford, Scott A. G. M. "The Manly Art: Bare-Knuckle Prize Fighting in America." Journal of Sport History 38, no. 2 (July 1, 2011): 324–25. http://dx.doi.org/10.5406/jsporthistory.38.2.324.

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Brylowe, Thora. "Of Gothic Architects and Grecian Rods: William Blake, Antiquarianism and the History of Art." Romanticism 18, no. 1 (April 2012): 89–104. http://dx.doi.org/10.3366/rom.2012.0066.

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Ducheyne, Steffen. "Geneva, natural history and the art of observing." Archives of Natural History 48, no. 1 (April 2021): 77–88. http://dx.doi.org/10.3366/anh.2021.0688.

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According to the naturalist Charles Bonnet (1720–1793), an “art of observing” was sorely needed to stimulate further progress in natural history. Although he never published on the subject, Bonnet proposed a prize competition on the “art of observing” to Hollandsche Maatschappij der Wetenschappen (the Dutch Society of Sciences) in Haarlem of which he was a member. Jean Senebier, a pastor and librarian who later became a skilled scientific observer in his own right, took part in this competition (1768) with an essay on the art of observing that influenced, embodied and codified the advanced scientific observational practices of the Genevan naturalists in the eighteenth century.
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Moseley, Merritt. "How the Booker Prize Won the Prize." American, British and Canadian Studies 33, no. 1 (December 1, 2019): 206–21. http://dx.doi.org/10.2478/abcsj-2019-0023.

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AbstractThis article shows that the Booker Prize for fiction, which is neither the oldest nor the richest award given for novels in English, is nevertheless widely conceded to be the pre-eminent recognition. Sometimes it is called the “most significant”; sometimes the “most famous”; ultimately these two qualities are inseparable. I canvass some of the explanations for the Booker’s position as top prize and argue that the most important reasons are Publicity, Flexibility, and Product Placement. The Booker has managed its public image skillfully; among the devices that assure its continued celebrity is the acceptance, almost the courting, of scandal. Flexibility is partly a function of the practice of naming five new judges each year, but the Booker has also been responsive to challenges, including the recognition that it paid too little attention to female authors. The decision to admit American books into the competition was a sign of flexibility, as it was a guarantee of scandal. And the Booker has followed a path of “product placement” that positions it accurately between demands for high art and for “readability,” as examination of several periods in its history demonstrate.
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Dissertations / Theses on the topic "Blake Art Prize History"

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Brown, Mikell Waters. "Divine Imagination: Correlations Between the Kabbalah and the Works of William Blake." VCU Scholars Compass, 1991. http://scholarscompass.vcu.edu/etd/4500.

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The intention of this thesis is to investigate correspondences which exist between the Kabbalah and the recondite world of William Blake's imagery. Particular attention will be paid to the symbiotic relationship or word and image and the dialectical approach to salvation which is common to both Blake and the Kabbalah. The attempt will be made to locate correlations between depictions or several or Blake's characters and components or the kabbalistic Tree of Life. In doing so, this writer hopes to show that Blake's familiarity with the Kabbalah was instrumental in enabling him to give form to the visionary experience upon which his mythological system was based. Certainly, a full understanding of Blake's symbolism must acknowledge not only his indebtedness to the Kabbalah, but also the significant role that esoteric tradition as a whole played in the development or eighteenth-century English thought.
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Cahill, James Matthew. "The classical in the contemporary : contemporary art in Britain and its relationships with Greco-Roman antiquity." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/271333.

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From the viewpoint of classical reception studies, I am asking what contemporary British art (by, for example, Sarah Lucas, Damien Hirst, and Mark Wallinger) has to do with the classical tradition – both the art and literature of Greco-Roman antiquity. I have conducted face-to-face interviews with some of the leading artists working in Britain today, including Lucas, Hirst, Wallinger, Marc Quinn, and Gilbert & George. In addition to contemporary art, the thesis focuses on Greco-Roman art and on myths and modes of looking that have come to shape the western art historical tradition – seeking to offer a different perspective on them from that of the Renaissance and neoclassicism. The thesis concentrates on the generation of artists known as the YBAs, or Young British Artists, who came to prominence in the 1990s. These artists are not renowned for their deference to the classical tradition, and are widely regarded as having turned their backs on classical art and its legacies. The introduction asks whether their work, which has received little scholarly attention, might be productively reassessed from the perspective of classical reception studies. It argues that while their work no longer subscribes to a traditional understanding of classical ‘influence’, it continues to depend – for its power and provocativeness – on classical concepts of figuration, realism, and the basic nature of art. Without claiming that the work of the YBAs is classical or classicizing, the thesis sets out to challenge the assumption that their work has nothing to do with ancient art, or that it fails to conform to ancient understandings of what art is. In order to do this, the thesis analyses contemporary works of art through three classical ‘lenses’. Each lens allows contemporary art to be examined in the context of a longer history. The first lens is the concept of realism, as seen in artistic and literary explorations of the relationship between art and life. This chapter uses the myth of Pygmalion’s statue as a way of thinking about contemporary art’s continued engagement with ideas of mimesis and the ‘real’ which were theorised and debated in antiquity. The second lens is corporeal fragmentation, as evidenced by the broken condition of ancient statues, the popular theme of dismemberment in western art, and the fragmentary body in contemporary art. The final chapter focuses on the figurative plaster cast, arguing that contemporary art continues to invoke and reinvent the long tradition of plaster reproductions of ancient statues and bodies. Through each of these ‘lenses’, I argue that contemporary art remains linked, both in form and meaning, to the classical past – often in ways which go beyond the stated intentions of an artist. Contemporary art continues to be informed by ideas and processes that were theorised and practised in the classical world; indeed, it is these ideas and processes that make it deserving of the art label.
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Lupold, Eva Marie. "Literary Laboratories: A Cautious Celebration of the Child-Cyborg from Romanticism to Modernism." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1339976082.

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Sanders, Anne Elizabeth. "The Mildura Sculpture Triennials 1961 - 1978 : an interpretative history." Phd thesis, 2009. http://hdl.handle.net/1885/7452.

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The significance of the Mildura Sculpture Triennials from 1961 to 1978 lies in their role as critical nodal points in an expanding and increasingly complex system of institutions and agents that emerge, expand and interact within the Australian art world. These triennial events provide a valuable case-study of the developments in sculptural practice in Australia and offer a close reading of the genesis of an autonomous field of visual art practice; a genesis dependent upon the expansion of the new tertiary education policies for universities and colleges of advanced education that arose in response to the generational pressure created by the post war baby boom. Given that there was virtually no market for modern sculpture in Australia at the inauguration of these triennials in the 1960s, the extent of the impact of the pressures and expectations of a burgeoning young population upon tertiary education, specifically the art schools, art history departments and art teacher training and, the expanding desire for cultural fulfilment and rapid developments in the cultural institution sector, is delineated at these triennial events. The expansion of the education system and the consequent expanded employment opportunities this offered to young sculptors in the late 1960s and throughout the 1970s, posited the first real challenge and alternative economy to the existing heterogeneous market economy for artistic works. In order to reinscribe the Mildura Sculpture Triennials into recent Australian art history as an important contributor to the institutional development of Australian contemporary art practice, I have drawn upon the reflexive methodological framework of French cultural theorist and sociologist Pierre Bourdieu and his explanation of the factors necessary for the genesis and development of autonomous fields of cultural production. Bourdieu's method provides an interpretative framework with which to identify these components necessary to the development of an institutional identity - the visual arts profession. This autonomous field parallels, conflicts with and at times connects with the heterogeneous art market economy, depending on the strength of its relative autonomy from the field of economic and political power. However, this is beyond the scope of this thesis. Mildura's significance lies in the way that the triennial gatherings provide a view into the disparate components that would connect to and eventually create an autonomous field of artistic production, that of the visual arts profession. However, the evolution of each of the components, which were the bedrock of Mildura, was driven by its own needs and necessities and not by the needs of the larger field of which they would eventually become a part. Bourdieu's understanding of the ontologic complicitiy between dispositions and the development of an autonomous field offers a non-teleological approach to the significance of Mildura as a site to map these rapid changes and also Mildura's subsequent displacement from the historical record.
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Taylor, C. J. "Collapsible Time: Contesting Reality, Narrative And History In South Australian Liminal Hinterlands." Phd thesis, 2017. http://hdl.handle.net/1885/131791.

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My practice-led project explores the indexical lamination of memory, history, narrative and reality afforded by photography imbued with the illusion of spatial dimensionality. This thesis investigates the notion that far from freezing a ‘slice of time’ photography reanimates perception through sensation rendering duration flexible and elastic. Using the liminal landscape of South Australia as time’s stage, I contend that time is ‘collapsible’, constantly unfolding and repeating. In embracing this temporal flow, I submit that photomedia becomes our most compelling connection to time itself, as lived experience. It is this connection that can act as an ethical agent of change for the betterment of the landscape in which we live. The project includes work created in South Australia, the ACT, the United States and the Outer Hebrides and Shetland Islands of Scotland. It includes artefacts photographed in the Adelaide Civic Collection, The South Australian Museum and the National Museum of Australia.
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Books on the topic "Blake Art Prize History"

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1973-, Stout Katharine, ed. Turner Prize 10. London: Tate, 2010.

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Gallery, Tate, ed. The Turner Prize. London: Tate, 2007.

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Blake 2.0: William Blake in twentieth-century art, music and culture. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2012.

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Gorn, Elliott J. The manly art: Bare-knuckle prize fighting in America. Ithaca: Cornell University Press, 2010.

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The manly art: Bare-knuckle prize fighting in America. Ithaca: Cornell University Press, 1986.

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Nochlin, Linda. A life of learning: Charles Homer Haskins prize lecture for 2007. New York, NY: American Council of Learned Societies, 2008.

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American Council of Learned Societies, ed. A life of learning: Charles Homer Haskins prize lecture for 2007. New York, N.Y: American Council of Learned Societies, 2008.

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Ross, Peter. Let's face it: The history of the Archibald Prize. Sydney, Australia: Art Gallery of New South Wales, 1999.

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Blake and antiquity. New York: Routledge, 2002.

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1941-, Mason Michael, ed. William Blake. Oxford, England: Oxford University Press, 1994.

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Book chapters on the topic "Blake Art Prize History"

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"Art and Politics." In Blake, Politics, and History, 227–64. Routledge, 2013. http://dx.doi.org/10.4324/9780203775127-13.

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"Art and History." In After the Nobel Prize 1989-1994, 46. The Gingko Library, 2020. http://dx.doi.org/10.2307/j.ctv14161w4.40.

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Hutton, John. "“Lovers of Wild Rebellion”: The Image of Satan in British Art of the Revolutionary Era." In Blake, Politics, and History, 149–68. Routledge, 2015. http://dx.doi.org/10.4324/9781315675176-9.

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Townsend, Joyce H., and Bronwyn A. Ormsby. "3. Blake’s Painting Materials, Technical Art History, and the Legacy of G.E. Bentley Jr." In Blake in our Time, edited by Karen Mulhallen. Toronto: University of Toronto Press, 2010. http://dx.doi.org/10.3138/9781442687110-007.

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"e History of the eory of Conception and Execution." In William Blake and the Art of Engraving, 29–54. Routledge, 2015. http://dx.doi.org/10.4324/9781315652832-9.

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Munson, Kim A. "Co-Mix and Exhibitions: Interview with Art Spiegelman." In Comic Art in Museums, 346–55. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0040.

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This chapter includes a 2017 interview conducted by art historian Kim A. Munson with Pulitzer prize winning cartoonist Art Spiegelman about his touring retrospective Co-Mix, exhibition strategies, Masters of American Comics, narrative in exhibits relating to Maus and R. Crumb’s Genesis, Hogarth’s Marriage A-la-Mode paintings, the wordless comics of Si Lewen, and the flattening of art history.
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Hope, Charles. "Francis James Herbert Haskell 1928–2000." In Proceedings of the British Academy, Volume 115 Biographical Memoirs of Fellows, I. British Academy, 2003. http://dx.doi.org/10.5871/bacad/9780197262788.003.0011.

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Publication of Patrons and Painters (1963), which dealt with art in 17th-century Rome and 18th-century Venice, established Francis Haskell as one of the leading art historians of his generation. He held posts at King's College Cambridge and was then appointed Professor of the History of Art at Oxford University with a Fellowship at Trinity College. Haskell turned to studying French painting of the 19th century. Rediscoveries in Art: Some Aspects of Taste, Fashion and Collecting in England and France (1976) won the Mitchell Prize for Art History. Haskell was elected a Fellow of the British Academy in 1971. Obituary by Charles Hope.
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Garetto, Elda. "The Image of Ivan Bunin in the Correspondences of Aleksandr Amfiteatrov with the Russian Émigré Writers in Paris (Mark Aldanov, Boris Zaitsev, Teffi, Ivan Shmelev)." In I.A. Bunin and his time: Context of Life — History of Work, 161–75. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/ab-978-5-9208-0675-8-161-175.

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This paper gives an overview of the several references to Ivan Bunin found in Alexander Amfiteatrov’s letters, which are kept in the writer’s archive and have been published only in fragments. The article considers Amfiteatrov’s correspondence with prominent writers of “Russian Paris”, such as Mark Aldanov, Boris Zaitsev, Teffi and Ivan Schmelev. During the 1920–1930s they often wrote to Amfiteatrov about the Russian literary environment in Paris, their common friends and, especially, Ivan Bunin. The aim of the paper is to illustrate the dominant features of a multifaceted, polyphonic epistolary portrait of Bunin, composed of multiple fragments. It also emphasizes the peculiar characteristics of Bunin’s image, specific for each correspondent, by looking at the individual and sometimes contradictory approach of each writer to Bunin’s art and personality. The overview follows both chronological and thematic approach. It also shows that almost all references to Bunin mention his Nobel Prize, highlighting different aspects and reactions connected to this important award.
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Long, Declan. "That which was: histories, documents, archives." In Ghost-Haunted Land. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784991449.003.0005.

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Chapter four begins by further discussing the haunted spaces of Doherty’s practice as the starting point for a reflection on artists’ approaches to time and history. This part of the book highlights artists who have adapted conventional forms of documenting and archiving in order to speculate on alternative temporalities and histories of Troubles and post-Troubles life. In addition to analyses of artworks by artists such as Duncan Campbell (winner of the 2014 Turner Prize) and Miriam de Búrca, who both adapt documentary processes in an art context, attention is paid to art that studies the history of Belfast through psychogeographic urban wandering and to some curatorial attempts to historicise Northern Ireland’s art.
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Goode, Mike. "Blakespotting." In Romantic Capabilities, 35–64. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198862369.003.0002.

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The chapter argues that the unpredictable viral behavior of William Blake’s proverbs in contemporary culture is critically and politically instructive. The widespread practice of citing Blake proverbs across various media platforms reveals the radical potential that Blake’s multi-media poetry possessed within the “original” historical contexts in which he wrote. Understanding the proverb form as a viral medium that spreads through a population’s contradictory desires for self-regulation illuminates proverbs’ centrality to Blake’s art and its challenge to the regulatory power of laws. The intellectual groundwork for this challenge lay in eighteenth-century practices of collecting national proverbs and in historical research into the Book of Proverbs. The chapter closes by analyzing how Blake’s proverbs relate to computer worms and also how they inform the ways that Jim Jarmusch’s film Dead Man laments America’s history of missed political opportunities.
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Conference papers on the topic "Blake Art Prize History"

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Aristizábal, José Antonio. "HUMBERTO RIVAS, DESDE LO ROMÁNTICO Y LO SINIESTRO. HUMBERTO RIVAS FROM THE ROMANTIC AND THE SINISTER." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6880.

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Palabras clave:Fotografía, estética, Humberto Rivas, Rafael Argullol, Eugenio Trías.Keywords: Photography, esthetic, Humberto Rivas, Rafael Argullol, Eugenio Trías.Resumen:El siguiente artículo busca dar una lectura a la obra del fotógrafo Humberto Rivas, Premio Nacional de Fotografía y unos de los mayores exponentes de la fotografía española de finales del siglo XX. Se parte de la convicción de que hace falta ubicar a Humberto Rivas en una tradición de pensamiento estético, ya que las distintas lecturas que existen sobre su trabajo, aunque importantes, no han dejado de ser lecturas impresionistas que no han reflexionado en profundidad sobre su obra. Este artículo trata de ver a Rivas a partir de unas categorías estéticas. Para ello se remite a las reflexiones de Rafael Argullol para distinguir aquello propio del artista romántico, y a las aportaciones filosóficas de Eugenio Trías acerca de lo siniestro en la obra de arte, y las vincula a la obra de Humberto Rivas. La hipótesis inicial es de que Rivas no se sentía como un fotógrafo que atrapa momentos o documenta acontecimientos, sino como un creador, y su obra es resultado de un artista que se repliega sobre sí mismo con la intención de producir una imagen reflejo de su mundo interior, la cual se puede explicar desde la mente del artista romántico, aunque el contexto no sea el romanticismo. Por último, aunque el artículo hable sobre Humberto Rivas, también es una manera de construir un relato entre la imagen fotográfica y distintos valores estéticos que hacen parte la historia del arte. Abstract:The following article seeks to give a reading to the work of photographer Humberto Rivas, National Photography Prize and one of the greatest exponents of Spanish photography at the end of the 20th century. It is based on the conviction that it is necessary to locate Humberto Rivas in a translation of aesthetic thought, since the different readings that exist on his work, although important, have not ceased to be Impressionist readings that have not reflected in depth on his work . This article tries to see Rivas from some aesthetic categories. For this he refers to the reflections of Rafael Argullol to distinguish that of the romantic artist and the philosophical contributions of Eugenio Trías about the sinister in the work of art, and links them to the work of Humberto Rivas. The initial hypothesis is that Rivas did not feel like a photographer who catches moments or documents events, but as a creator, and his work is the result of an artist who recoils on himself with the intention of producing a reflex image of Its inner world, which can be explained, from the mind of the romantic artist although the context is not romanticism. Finally, although the article talks about Humberto Rivas, it is also a way to build a narrative between the photographic image and the values ​​that have served to interpret painting or sculpture in the history of art.
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