Journal articles on the topic 'Central American Artists'
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1
Duganne, Erina. "From the Memory Books of Josely Carvalho." Arts 8, no. 3 (August 28, 2019): 109. http://dx.doi.org/10.3390/arts8030109.
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In this interview, Brazilian-born multi-media artist Josely Carvalho (b. 1942) reflects back on her art making practice in the 1980s. Among the subjects that she addresses are her bi-nationalism, her use of the silkscreen process, and her association with the 1984 activist campaign Artists Call Against U.S. Intervention in Central America. She also speaks about working as a Latin American artist in New York City during this period, as well as her involvement with galleries and arts organizations such as St. Mark’s Church-in-the-Bowery, Central Hall Cooperative Gallery, and Franklin Furnace.
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Introvigne, Massimo. "“Theosophical” Artistic Networks in the Americas, 1920–1950." Nova Religio 19, no. 4 (May 1, 2016): 33–56. http://dx.doi.org/10.1525/nr.2016.19.4.33.
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Latin American scholars have discussed interbellum “Theosophical networks” interested in new forms of spirituality as alternatives to Catholicism, positivism and Marxism. In this article I argue that these networks included not only progressive intellectuals and political activists but also artists in Latin America, the United States and Canada, and that their interests in alternative spirituality contributed significantly to certain artistic currents. I discuss three central locations for these networks, in part involving the same artists: revolutionary Mexico in the 1920s; New York in the late 1920s and 1930s; and New Mexico in the late 1930s and 1940s. The Theosophical Society, the Delphic Society, Agni Yoga and various Rosicrucian organizations attracted several leading American artists involved in the networks.
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White, Melanie. "A Caribbean Coast Feeling: On Black Central American Women’s Landscape Portraiture." Small Axe: A Caribbean Journal of Criticism 27, no. 3 (November 1, 2023): 15–31. http://dx.doi.org/10.1215/07990537-10899302.
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This essay explores the visual cultural production of three twentieth-century Black Caribbean Central American women painters: June Beer and Judith Kain, both from the Miskitu Coast, and Iris Abrahams, from San Andrés and Providencia. Specifically, it contextualizes these artists’ landscape portraiture against the historical backdrops of colonialism, territorial dispossession, and autonomous struggle in the isthmus. Understanding the political and the cultural as inextricably intertwined, this essay reads their place-based visual art as a critical form of anticolonial critique and social organizing in a region that remains marginalized in the historiography and scholarship on Latin America and the Caribbean and radical Black diasporic politics.
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Kempe, Deborah, Deirdre E. Lawrence, and Milan R. Hughston. "Latin American art resources north of the border: an overview of the collections of the New York Art Resources Consortium (NYARC)." Art Libraries Journal 37, no. 4 (2012): 5–14. http://dx.doi.org/10.1017/s0307472200017673.
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The New York Art Resources Consortium (NYARC), consisting of The Frick Art Reference Library and the libraries of the Brooklyn Museum and the Museum of Modern Art (MoMA), houses significant collections of material on Latin American art that document the cultural history of Mexico, Central America, the Caribbean and South America, as well as the foundation of New York City as an epicenter of US Latino and Latin American cultural production since the 19th century. Ranging from historic archeological photographs to contemporary artists’ books, the holdings of the NYARC libraries are varied in their scope and record the contributions of Latin American and Latino artists to the international art scene. With the creation of Arcade, the shared online catalog of the Frick, MoMA and Brooklyn Museum, the ‘collective collection’ of material about and from Latin America has been strengthened in ways both expected and unanticipated. Techniques for integrating Latin American bibliographic information into discovery platforms, strategies for increasing the visibility of these collections, and ideas for providing improved access to the Latin American subset of the NYARC collections are being explored, and many further opportunities exist to engage in co-operative collection development in this area, across the NYARC consortium and with other peer institutions.
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Dauber, Jeremy. "Comic Books, Tragic Stories: Will Eisner’s American Jewish History." AJS Review 30, no. 2 (October 27, 2006): 277–304. http://dx.doi.org/10.1017/s0364009406000134.
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In recent years, we have witnessed a significant increase in writing by scholars and literary and cultural critics on the genre of the comic book, corresponding to an increased legitimacy given to the comic book industry and its writers and artists more generally. Part of this phenomenon no doubt stems from the attention lavished on the field by mainstream fiction and nonfiction writers who consider comic books a central part of their own and America’s cultural heritage, such as Michael Chabon and Jonathan Lethem. It may also stem from the changing nature of the industry’s finances, which now employ a “star system” revolving around writers and artists, not merely the major companies’ storied characters; though the days of the big houses that control the major characters are by no means gone, in the last two decades, numerous specialty imprints have been developed to publish characters that are owned outright by writers and artists, to say nothing of profit-sharing deals with major stars, even at some of the major companies.
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Quiñones-Otal, Emilia. "Women’s bodies as dominated territories: Intersectionality and performance in contemporary art from Mexico, Central America and the Hispanic Caribbean." Arte, Individuo y Sociedad 31, no. 3 (July 1, 2019): 677–93. http://dx.doi.org/10.5209/aris.61786.
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Since the 1970s, artists from Central America, Mexico and the Hispanic Caribbean have explored the connection between imperialism and gender violence through innovative artistic proposals. Their research has led them to use the female body as a metaphor for both the invaded geographical territory and the patriarchal incursion into women’s lives. This trend has received little to no attention and it behooves us to understand why it has happened and, more importantly, how the artists are proposing we examine this double violence endured by the women who live or used to live in countries with a colonial present or past. The resulting images are powerful, interesting, and a great contribution to Latin America’s artistic heritage. This study proposes that research yet to be done in other Global areas where colonies has been established, since it is possible that this trend can be understood, not only as an element of the Latin American artistic canon, but also integral to all of non-Western art.
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Warren, Kate. "Double Trouble: Parafictional Personas and Contemporary Art." Persona Studies 2, no. 1 (May 17, 2016): 55–69. http://dx.doi.org/10.21153/ps2016vol2no1art536.
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Across the news and entertainment media there is an increasingly prevalent phenomenon: actors, performers and artists who play “versions of themselves”. This paper explores the entertaining and critical potentials of this strategy, which I term “parafictional personas”. I draw upon Carrie Lambert-Beatty’s theorisation of the parafictional as a critical mode that has developed out of (and in tension with) the “historiographic turn”. Parafictional personas are a specific iteration, characterised by two key components: they compulsively imbue every opportunity with layers of interconnections and self-reflexive moments; and they involve artists and performers appropriating their own “proper name”, constructing fictionalised doubles of themselves. While found widely across media, my central focus is contemporary visual art, analysing two key examples, Israeli–American artist Omer Fast and Lebanese artist Walid Raad.These artists are significant because their personas are not simply means of performing themselves as individuals; they are integrated into the ways the artists approach contentious, still unfolding events of contemporary history. Parafictional personas have the potential to thoroughly embed fictional constructs within reality, because of the difficulties in separating elements represented by the same proper name. Their critical potential lies in the ways that they make visible the difficulties of maintaining clear distinctions between historical and fictional, social and individual narratives. Parafictional personas confound cultural desires to order, categorise and “make sense” of historical narratives. They reveal how much we as viewers (and societies) search for ideas of truth and resolution, even if such truths are presented as incomplete, questionable, or irresolvable.
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Greeley, Robin Adèle. "The Color of Experience: Postwar Chromatic Abstraction in Venezuela and Brazil." October 152 (May 2015): 53–59. http://dx.doi.org/10.1162/octo_a_00216.
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In the aftermath of World War II, South American artists and critics saw color as a key to liberation from the crisis of the art object and the related crisis of modernity. In so doing, they resisted an entrenched postwar suspicion of color's expressive qualities that elsewhere resulted in color either being repositioned as readymade or purged outright. The essays comprising “Color and Abstraction in Latin America” investigate what was at stake in this resurgence, in 1950s and '60s South American abstraction, of color as a central problem of perceptual experience and subject construction. First, color was conceptualized in relation to material experience, as a corporealization (whether individual or collective) that relocates us as subjects. Second, color became the basis for a complex negotiation that laid claim to chromatic abstraction as a universal project through its localized articulation within the developmentalist contexts of postwar South America. Third, all of these artists and writers contextualized their aesthetic maneuvers in relation to Europe, positioning their work as a resuscitation of the historical avant-garde's utopian aspirations in the wake of the latter's failure in the aftermath of World War II. The essays collected here reassess the role of color in postwar art, to reconsider in light of the varied experiences of developmentalist South American nations what are by now familiar concerns regarding the effects of the commercialization of human imagination and memory, the pervasiveness of culture industry spectacle, and the corrosion of subjectivity imposed by industrial capital.
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Arias, Arturo. "From the Cold War to the Cruelty of Violence: Jean Franco's Critical Trajectory from The Decline and Fall of the Lettered City to Cruel Modernity." PMLA/Publications of the Modern Language Association of America 131, no. 3 (May 2016): 701–10. http://dx.doi.org/10.1632/pmla.2016.131.3.701.
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The Cuban Revolution Generated a New Communist Paranoia in the United States. Interest in Latin America Grew Dramatically after Castro's rise to power in 1959 and was partly responsible for the explosive growth in the number of scholars specializing in hemispheric issues during the 1960s. Latin Americans, in turn, saw this phase of the Cold War as a furthering of imperial aggression by the United States. The Eisenhower administration's authoritarian diplomatic maneuvers to isolate Guatemala by accusing the country's democratically elected president, Jacobo Arbenz (1950-54), of being a communist and by pressuring members of the Organization of American States to do likewise had already alarmed intellectuals and artists in Latin America five years before. On 17 June 1954, Carlos Castillo Armas and a band of a few hundred mercenaries invaded the country from Honduras with logistical support from the Central Intelligence Agency in an operation code-named PBSUCCESS, authorized by President Eisenhower in August 1953. By 1 July 1954 the so-called Movement of National Liberation had taken over Guatemala. Angela Fillingim's research evidences how the United States officially viewed Guatemala as “Pre-Western,” according to “pre-established criteria,” because the Latin American country had failed to eliminate its indigenous population (5-6). Implicitly, the model was that of the nineteenth-century American West. As a solution, the State Department proposed “finishing the Conquest.”
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Reitsamer, Rosa, and Rainer Prokop. "Keepin’ it Real in Central Europe: The DIY Rap Music Careers of Male Hip Hop Artists in Austria." Cultural Sociology 12, no. 2 (May 2, 2017): 193–207. http://dx.doi.org/10.1177/1749975517694299.
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This article sets out to broaden our understanding of the significance of authenticity, locality and language for the development of a do-it-yourself (DIY) rap music career by taking male rap artists in Austria as an example. Drawing on interviews carried out in 2014–2015 with two groups of rap artists from different social and cultural backgrounds who embarked on their rap music careers in the early 1990s and the early 2000s, we analyse their rap lyrics and the social and economic contexts in which these individuals became rappers. We examine how the artists articulate claims to authenticity by appropriating African-American rap styles, meanings and idioms and blending them with local languages and references to local cultures and national politics. We also examine the rappers’ relationship to the music industry and the use of informal channels for the production, performance and consumption of rap and hip hop in general. The article suggests that the DIY careers of these rap artists depend on both the rappers’ use of music to articulate claims to authenticity and their ability to form (trans-)local networks for sharing skills, knowledge and other resources, as well as on Austria’s cultural policy and the changes in the music industry that have taken place in recent years.
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van Loenen, Clare. "The many lives of the messy museum: Site, memory and voice." Art & the Public Sphere 9, no. 1-2 (December 1, 2020): 195–209. http://dx.doi.org/10.1386/aps_00041_1.
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A number of North American artist project spaces established in 2003 activated alternatives to display and programming practices found in mainstream museums, giving voice to artists who did not fit existing durational, disciplinary and authorial parameters. One such site was Elsewhere in Greensboro, North Carolina, an artist residency and living museum set within a 1930s Depression-era thrift store. Here, an archival approach emerged from the mess of thrift store Americana that considered what an artist project space could be if nothing was sold, altered beyond repair or thrown away. Central to the artist organizing practices that emerged on-site are archival principles that enable empathetic connections to form in relation to object meanings, lost subjectivities and neighbourhood relationships. Elsewhere, as a site, offered a means for hidden voices to be heard and alternative archiving practices to be tested as a form of community memory, with their museological presentation indebted to the implications of mess and its endless reordering. This article builds on the idea of empathy as a capacity to be engendered in museum audiences by seeing it also as a structuring principle to invoke organizational difference at every turn. Such structural empathy became tellingly significant in 2020 as racial justice protests and the COVID-19 pandemic underscored the inequities of American life. For Elsewhere, the principles of practice that enabled them to become a platform for imagining and securing hyper-local change are bound to successive reformulations of both the site since 2003 and the resulting archive.
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Kratz, Dennis M. "The Silk Road: Traveled, Imagined, Transformed." China and the World 03, no. 03 (September 2020): 2050012. http://dx.doi.org/10.1142/s2591729320500121.
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Western artists, philosophers and politicians have inevitably viewed China and its actions through a distorting lens – often seeking to confirm assumptions rather than to gain new understanding. This paper examines Western and specifically American responses to three manifestations of the Silk Road: the historical Silk Road that enabled the transport of goods, people and ideas from China through Central Asia as far as Europe; the “Silk Road of the Western Imagination;” and the modern transformation of the Silk Road into China’s Belt and Road Initiative. It explores reasons for the American idealized fascination for the first two and hostility toward the BRI. The tendency to interpret history and China from a “heroic” perspective serves as an obstacle to fostering a modern era of cultural exchange and cooperation that both Americans and Chinese believe the Silk Road symbolizes.
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Gaete, Miguel Ángel. "Territorial Fantasies, Sexual Nuances, and Savage Energy: Orientalism and Tropicality in Eugène Delacroix and Johann Moritz Rugendas." Culture & History Digital Journal 11, no. 2 (November 16, 2022): e022. http://dx.doi.org/10.3989/chdj.2022.022.
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In 1822, the German Romantic painter Johann Moritz Rugendas undertook his famed three-year journey across Brazil. Later, between 1831 and 1846, encouraged by Alexander von Humboldt and other Romantic artists, he would make a second trip through Mexico and South America. In 1832, Eugène Delacroix started a six-month journey to Spain and North Africa as a part of a diplomatic mission. Both artists profusely translated their travels into words and rich images of tropical America and the Orient. Their paintings and illustrations of remote lands and people became milestones in their respective careers while being prime examples of how Europe viewed and perceived the rest of the world in the nineteenth century. In hindsight, they were not only mere agents and promoters of two crucial aesthetic trends of that time: Orientalism and Tropicality but the embodiment of two ways of seeing and imagining the Others. This article places these two artists against each other, contrasting the set of ideas and cultural preconceptions resting behind a sizeable number of paintings, drawings, and illustrations of their Eastern and South American experiences. The central argument is that Tropicality and Orientalism were comparable phenomena based on similar tropes and assumptions. It brings forward recurring themes of Rugendas and Delacroix’s works, such as the eroticisation of female bodies and the linkage between South America and the East with everlasting ideas of violence, adventures, and savageness to prove such an equivalence.
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Croft, Clare. "Dance Returns to American Cultural Diplomacy: The U.S. State Department's 2003 Dance Residency Program and Its After Effects." Dance Research Journal 45, no. 1 (December 3, 2012): 23–39. http://dx.doi.org/10.1017/s0149767712000265.
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By focusing on a 2003 dance residency program sponsored by the U.S. State Department, this article locates twenty-first century American cultural diplomacy in a post-9/11 political context. The article focuses specifically on collaboration between San Francisco–based Margaret Jenkins Dance Company and Kolkata, India–based Tansuree Shankar Dance, which grew from the 2003 residency, to consider how artists find ways to facilitate cultural diplomacy that might be a blueprint for future American cultural diplomacy efforts. The article also addresses, however, the limits of that collaboration—limits that highlight the central tension of American cultural diplomacy: a desire to build relationships of so-called “mutual understanding” while also forwarding American national interests.
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Naranjo, David Gabriel. "Field-Based Art Programming As a Facilitator for Transformative Learning Experiences in Tertiary Education: Participants Reflections on Land Arts of the American West." Arte, Individuo y Sociedad 34, no. 1 (January 10, 2022): 255–73. http://dx.doi.org/10.5209/aris.73648.
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Field-based art programming proposes a different pedagogical model to respond to contemporary challenges that artists face, ranging from ecological crises to the education and development of artists. This article analyzed interviews with field-based art programming participants across two decades, focusing on artists’ experiences through their own voices. Out of the interviews with participants from Land Arts of the American West, in which participants travel, camp, and create at different sites throughout the Southwest, the participants narrate important elements of field-based art programming. Using Mezirow’s theory of Transformative Learning, this article uses participants’ descriptions to analyze the pedagogical aspects of field-based art learning that denotes a transformative experience, distinct from what is available to them in conventional tertiary art classes. Central reoccurring themes identified include immersive nature, art-making, community, and place. Participants’ responses reveal Disorienting Dilemmas and having transformative experiences.
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Pope, Amara. "Musical Artists Capitalizing on Hybrid Identities." Stream: Interdisciplinary Journal of Communication 8, no. 2 (December 31, 2016): 3–22. http://dx.doi.org/10.21810/strm.v8i2.199.
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This study is an exploration of identity politics through an examination of the ways in which musical artists use the medium of music videos to create marketable, hybrid identities. With the rise of social media and the online consumption of information, music videos play a central role in global, cultural flows. I argue that hybrid identities are constructed by musical artists to gain popularity through the form of ethno-marketing. I include literature surrounding diaspora and hybridity to understand how hybrid identities become a production of heritage and human capital. By utilizing music videos specifically to construct their hybrid identities, musical artists are simultaneously enforcing and being subjected to economic, cultural, and political forms of exploitation. My methodology draws upon a multimodal discourse analysis (LeVine & Scollon, 2004) which assesses how meaning is made through the use of multiple modes of communication. I apply multimodality to the construction of music videos in which musical artists selectively chose particular sounds, images, and lyrics to claim specific identities. As articulated through the case study of Drake, I examine how the multimodal affordances of music videos allow artists to transcend borders within the digital age and reach a large audience. This study examines Drake’s bricolage of complex and intersectional identities and his unique privilege to choose to identify with different marginal communities. I assess how Drake capitalizes on shared experiences and struggles of different cultural, national, and class backgrounds though three of his music videos: “HYFR (Hell Yeah Fuckin’ Right)” (2011), “Started From The Bottom” (2011), and “Worst Behavior” (2013). Drake alludes to different cultures, locations, and social identities through these music videos to construct his place as a rapper in the music industry and articulates a hybrid identity as an “Authentic” Black/ Jewish, American/Canadian, working class member of society, and high-class rapper.
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Anténe, Petr. "Jewishness and World History in Clive Sinclair’s Death & Texas." Iudaica Russica, no. 1(10) (December 18, 2023): 1–15. http://dx.doi.org/10.31261/ir.2023.10.06.
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At first glance, Death & Texas (2014), the title of the fourth short story collection by the British Jewish writer Clive Sinclair, appears somewhat misleading for several reasons. First, death may not seem a central theme in all the eight stories. Second, Texas is not the spatial setting in all stories, as some of them take place elsewhere in the USA or even in other countries. However, on closer inspection, both the theme of death and the American environment occur in most stories by means of their characters’ interests, as the protagonists are often Jewish writers or artists concerned with American and world history as well as the rendering of historical events in popular culture. This article thus aims to survey the theme of Jewishness and the reflection of world history in the collection.
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MILLER, BONNIE M. "The Image-Makers' Arsenal in an Age of War and Empire, 1898–1899: A Cartoon Essay, Featuring the Work of Charles Bartholomew (of the Minneapolis Journal) and Albert Wilbur Steele (of the Denver Post)." Journal of American Studies 45, no. 1 (April 12, 2010): 53–75. http://dx.doi.org/10.1017/s0021875810000046.
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Utilizing the work of two cartoonists who produced for newspapers outside the central establishment of the yellow press, this essay argues for the critical role of political cartoonists in shaping viewers' expectations of US involvement in the Spanish-American War of 1898. It features seventeen cartoons, arranged carefully to reflect the shifting political climate, in order to demonstrate the narrative frameworks, image selections, and paradigm shifts in their representations of war and empire. Their cartoons were emblematic of how artists nationwide harnessed typographies of gender, race, and sexuality to create compelling justifications for and against policies of war and colonial acquisition.
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Berger, Gabriel, and Carolina Gowland. "Fundación arteBA: supporting visual artists by promoting the art market." Emerald Emerging Markets Case Studies 2, no. 6 (August 13, 2012): 1–19. http://dx.doi.org/10.1108/20450621211275165.
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Subject area Strategic management of nonprofit organizations. Study level/applicability This case is appropriate for graduate level program/executive education courses; advanced topics in nonprofit management or strategic management of nonprofit organizations. Case overview This case focuses on the central dilemma faced by arteBA Foundation in 2008. arteBA Foundation's chairman, Facundo Gómez Minujín, received an offer from a foreign company to purchase the art fair launched 17 years before – and by then acknowledged as the most prestigious fair in Latin America. Leading art fairs around the world were managed by for-profit companies that could view arteBA as a strategic asset to tap into new markets. Gómez Minujín called for an urgent board meeting. The young chairman had his qualms about selling the fair. In addition to corroborating arteBA's brand positioning in the region and rewarding the organization's efforts over the years, this purchasing offer afforded the possibility to undertake several projects to further develop and promote Argentine art – the true driver for most arteBA's members. The case describes the foundation's background and the fair's growth until the crossroads in November 2008. They include several accounts of instances in which the foundation took financial risks to enhance the fair's positioning, such as granting subsidized space to emerging galleries at its Young Neighborhood Program, expanding to include aesthetically risky offerings at its Open Space section, and financially supporting Brazilian galleries to attend the fair in order to enhance its Latin American scope and regional consolidation. Similarly, the case depicts how the foundation chose to uphold fair continuity in critical years (2001) amidst a dismal domestic setting. The dilemma presented by this case hinges on an organization's ability to build a market-based venture while preserving and pursuing its mission. To promote Argentine artists and art, arteBA Foundation had to help art galleries – for-profit businesses – to adopt more professional practices. Another challenge described in this case revolves around the need to “manage quality” in detriment of greater, immediate revenues. The last section revisits the central dilemma faced by arteBA Foundation. The mixed reactions of board members on the fair's purchase offer described in the introduction unfolded in a passionate debate at the board meeting. Two prevailing positions emerged in reference to the future of the organization. For some board members selling the fair afforded arteBA a chance to finally undertake new challenges, such as launching a grant program, offering financial support to artists, consolidating a new venture (South Limit), etc. Opposing board members contended that, without the fair, the foundation made no sense and that no other initiative could have such an impact on its field of choice. Finally, the board found it impossible to reach a decision on this matter in just one meeting and decided to resume its discussion after a recess. Expected learning outcomes This case has been designed to advance the following teaching objectives: gaining a better understanding of market-based ventures carried out by social organizations; discussing the alignment of market-based ventures to social missions at social organizations; adequately interpreting market trends to try to align them to a nonprofit's mission; identifying the primary capabilities needed by social organizations to manage profitable market-based ventures; developing a positive market orientation as a source of opportunities for a nonprofit; appreciating the significance of an active, committed board for market-based venture development; and highlighting the primary role of entrepreneurship and innovation when it comes to launching market-based ventures that add value to a nonprofit's brand. Supplementary materials Teaching notes are available.
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Checa-Gismero, Paloma. "Review: Art for the Future: Artists Call and Central American Solidarities, edited by Erina Duganne and Abigail Satinsky." Latin American and Latinx Visual Culture 4, no. 4 (October 1, 2022): 138–39. http://dx.doi.org/10.1525/lavc.2022.4.4.138.
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Ronnick, Michele. "In Search of Helen Maria Chesnutt (1880-1969), Black Latinist." New England Classical Journal 48, no. 1 (May 14, 2021): 110–21. http://dx.doi.org/10.52284/necj/48.1/article/ronnick.
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Classical scholars have begun to delineate the dynamic pattern of black classicism. This new subfield of the classical tradition involves the analysis of the creative response to classical antiquity by artists as well as the history of the professional training in classics of scholars, teachers and students in high schools, colleges and universities. To the first group belongs Helen Maria Chesnutt (1880-1969). Born in Fayetteville, NC, Chesnutt was the second daughter of acclaimed African American novelist, Charles W. Chesnutt (1858-1932). She earned her B.A. from Smith College in 1902 and her M.A. in Latin from Columbia University in 1925. She was a member of the American Philological Association and the Classical Association of the Middle West and South. Her life was spent teaching Latin at Central High School in Cleveland, OH. This is the first full scale account of her career.
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Spotts, K. "Black American History and Culture: Untold, Reframed, Stigmatized and Fetishized to the Point of Global Ethnocide." European Journal of Philosophy, Culture and Religion 7, no. 1 (April 19, 2023): 1–41. http://dx.doi.org/10.47672/ejpcr.1423.
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Purpose: A poetic work of fiction haunts the base of the Statue of Liberty. The act overshadowed the original tribute to the Civil War victory and the Emancipation Proclamation. Abraham Lincoln's praises of the Black American military fell silent. Eurocentrists shrouded centuries of genius and scaled-down Black American mastery. Sagas of barrier-breaking Olympians, military heroes, Wild West pioneers, and inventors ended as forgotten footnotes. Today, countries around the world fetishize Black American history and culture to the point of ethnocide. The real-time case study of Woni Spotts explores the phenomenon. Until ancient traditions evolve with authenticity, global cultures will wither and die. The presented research chronicles over half a millennium of archives. Lists with names, dates, and genealogies seal the Black American legacy in stone.
Methodology: The presented research for case studies draws from archival data, dated events, news articles, and an interview with Woni Spotts. The case studies generated three lists. Fifty sports and competitions were dated and cataloged. The athletes were analyzed by a genealogist. Forty music and dance genres were cataloged by publishing or recording dates. The artists were analyzed by a genealogist. Copyright infringements were noted. Inventors were researched for U.S. patents. NASA astronauts and inventors were analyzed by a genealogist.
Findings: The presented research showed centuries of untold, reframed, stigmatized, and fetishized Black American history and culture. In the case studies, foreigners of African descent (Africans, Caribbeans, Central Americans, and South Americans) practiced ethnocidal behavior in concert with European descendants. Prolific abolitionists, patriots, politicians, and inventors were written out of history. Superstar athletes were obstructed or outshined by fictional
Recommendations: Case studies showed centuries of fragmented narratives created biases and distortions. Black Americans were written out of history, reframed as background characters, stigmatized with skewed statistics, and fetishized globally to the point of ethnocide. The presented research stands as a vital resource for preservationists. Music and dance genre architects were solidified by publishing and recording dates. Athletic events, inventions, and NASA scientists were recorded.
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Holloway, Camara Dia. "Lovechild: Stieglitz, O'Keeffe, and the Birth of American Modernism." Prospects 30 (October 2005): 395–432. http://dx.doi.org/10.1017/s0361233300002106.
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During the 1910s, the photographer Alfred Stieglitz developed the ambition to create a modern American art and gathered a circle of artists and writers around him who were committed to his spiritual, nature-centered aesthetic. This group of American Moderns is now known as the second Stieglitz circle. A review of the cultural production of this group reveals that concepts of race played a central role in their construction of American modernism. This is especially evident in the discourse about artist Georgia O'Keeffe, who served as the symbol of the aspirations of this circle. Writing under the pseudonym, Search-Light, the writer Waldo Frank made the following observation about the work of O'Keeffe:Arabesques of branch, form-fugues of fruit and leaf, aspirant trees, shouting skyscrapers of the city — she resolves them all into a sort of whiteness: she soothes the delirious colors of the world into a peaceful whiteness.As indicated by the title of Frank's essay, “Georgia O'Keeffe: White Paint and Good Order,” the circle felt that O'Keeffe's arrangement of colors, the literal pigments that she used to make her paintings, achieved a harmonious pattern that represented the ideal world they imagined. The use of whiteness to describe their desired configuration of the world was even more apparent in an assessment of O'Keeffe's paintings by cultural critic Paul Rosenfeld:A white radiance is in all the bright paint felt by this girl… O'Keeffe makes us feel dazzling white in her shrillest scarlet and her heavenliest blue … This art is, a little, a prayer that the indifferent and envious world, always prepared to regard self-respect as an insult to its own frustrate and crushed emotions, may be kept from defiling and wrecking the white glowing place.
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Kuharski, Allen J. "Incubating Incubators." Theater 54, no. 2 (May 1, 2024): 17–29. http://dx.doi.org/10.1215/01610775-11127586.
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Allen Kuharski provides a critical summary and expanded framing of the first neh Institute on transmitting and archiving devised physical ensemble theater in American higher education. Kuharski delineates the goals, structure, and planning of the twelve-day gathering of fifty academics, teaching artists, editors, and archivists hosted by him and Quinn Bauriedel of Philadelphia’s Pig Iron Theater Company. The institute’s goal was to provide a platform for longer-term discussions of the historical, theoretical, and critical teaching of devised physical ensemble theater given the proliferation of the teaching of devising practices around the country. Kuharski also places the concerns of the institute within the larger forces challenging contemporary theater, discussing how on the one hand they seem to threaten the historic legacies of such alternative theater practices while on the other these practices may also provide our best future solutions for a vibrant and reformed American live performance practice. The article concludes with an argument for the central role of higher education in the future incubation of an innovative noncommercial American theater.
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Saiber, Arielle. "“The lantern of the world rises to mortals by varied paths”: Paul Laffoley (1935–2015) and Dante." Forum Italicum: A Journal of Italian Studies 55, no. 2 (July 14, 2021): 581–626. http://dx.doi.org/10.1177/00145858211021572.
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American artist and architect Paul Laffoley (1935–2015) had a life-long fascination with Dante. Not only did he refer to Dante and the Commedia throughout his writings and paintings, but he created a large-scale triptych illustrating the poem, as well as sketched out plans for a full-immersion Dante study center on a planetoid orbiting the Sun, complete with a to-scale replica of the medieval Earth, Mount Purgatory, the material heavens, and the Empyrean through which a “Dante Candidate” could re-enact the Pilgrim’s journey. Laffoley’s work is often placed by art critics within the visionary tradition and Laffoley himself embraced that label, even as he deconstructed the term in his writing. Among the many visionary artists, poets, and philosophers Laffoley studied, Dante was central. He was, for Laffoley, a model seeker of knowledge, a seer beyond the illusions of everyday life. The essay that follows offers a brief biography of Laffoley and his works; an overview of his two main Dante projects ( The Divine Comedy triptych [1972–1975] and The Dantesphere [1978]); and initial considerations on how Dante’s works and thought fit into Laffoley’s larger epistemological project.
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Vázquez, David J. "Mapping Decolonial Environmental Imaginaries in Latinx Culture." American Literary History 33, no. 3 (August 3, 2021): 657–73. http://dx.doi.org/10.1093/alh/ajab054.
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Abstract Mapping Decolonial Environmental Imaginaries in Latinx Culture addresses a growing dialogue between antiracist environmental humanities and Latinx studies scholars that emphasizes how Latinx creativity expresses decolonial environmental values. Even as we face a racial crisis in the US, there is a looming, similarly daunting challenge in environmental change. Locating forms of progressive environmental ideas that think simultaneously about race and racialization is crucial if we are to meet these twin challenges. This essay introduces a mode of comparative analysis that places multiple genres and forms (novels, films, visual art, and short stories) created by authors from multiple Latinx communities (Chicanx, Puerto Rican, Peruvian, and Central American) into conversation. This comparative approach provides a more nuanced account of how Latinxs from multiple racial, class, gender, sexual, and other identity positions think about and represent environmental ideas. As the legatees of colonialism and racism, Latinx artists have much to say about combatting, circumventing, and, at times, proposing remedies for oppression and environmental harm as complex, interrelated phenomena. These authors and artists comprehend racial capitalism as directly causing environmental crises that perform in concert with racism and colonialism.
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Taylor. "Curating The American Algorists: Digital Art and National Identity." Arts 8, no. 3 (August 21, 2019): 106. http://dx.doi.org/10.3390/arts8030106.
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This essay details the curating strategies and central premise behind the 2013 traveling exhibition The American Algorists: Linear Sublime. This group exhibition, which showcased the artwork of Jean-Pierre Hébert, Manfred Mohr, Roman Verostko, and Mark Wilson, marked the 20th anniversary of New York Digital Salon. In organizing this exhibit, I attempted to expand the discourse of digital art curation by linking the Algorists, a group formed at the Los Angeles SIGGRAPH conference in 1995, to the broader narrative of American art. Through the exhibition catalogue, I constructed a detailed history of the Algorists and connected the movement’s narrative to ideas of national identity and myth. To cultivate this nexus, I interpreted the Algorists’ unique approach to linear abstraction through the various theories of the sublime active within the history of American art. Ultimately, this case study reveals the incongruities of aligning this group of digital artists—who shared a decidedly internationalist outlook—with a national narrative. While the Algorists resisted parochial characterizations, the concept of the sublime provided a useful vehicle for theorizing the aesthetic response to computer-generated abstraction. The travelling exhibition also offered a potential model, based on effective partnerships and resource sharing, for small college and university galleries.
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Brooks, Daphne A. "“All That You Can’t Leave Behind”." Meridians 19, S1 (December 1, 2020): 255–78. http://dx.doi.org/10.1215/15366936-8565979.
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Abstract As numerous scholars have shown, Hurricane Katrina exacerbated the already-ongoing precarity of African American communities in New Orleans. The crisis demanded a reckoning with the afterlives of slavery at the national and global level. This article focuses on the work of Black women popular music artists whose early twenty-first century recordings and stirring performances addressed the traumas, the challenges, and the spectacular subjugation of Black women who fell victim to brutal disenfranchisement in the midst of the disaster. Beyonce’s B-Day album and Mary J. Blige’s history-making Katrina telethon performance are central to this discussion. The original title of this article was “‘All That You Can’t Leave Behind’: Black Female Soul Singing and the Politics of Surrogation in the Age of Catastrophe.”
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Mollona, Massimiliano. "Seeing the Invisible: Maya Deren's Experiments in Cinematic Trance." October 149 (July 2014): 159–80. http://dx.doi.org/10.1162/octo_a_00188.
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In July 1791, the story goes, a small voodoo gathering in Santo Domingo sparked the Haitian Revolution, the first black anti-colonial revolution in history. The glorious history of the “Republic of the black Jacobins” was often celebrated by Surrealist artists in New York and Paris in their exposé of the decadent state of colonial powers in the aftermath of the Second World War. For instance, Haiti is central to André Breton's anti-colonial manifesto, Aimé Cesaire's idea of negritude, Rudy Burckhardt's lyric film symphonies, and Zora Neale Hurston's novels on creole culture. In New York, negritude did not have quite the same revolutionary appeal as in Paris, where Josephine Baker was hailed as a Surrealist goddess of “natural” beauty and power. But the electric Haitian voodoo performances of dancer and choreographer Katherine Dunham attracted a diverse community of African-American artists, émigrés, intellectuals, and communist sympathizers in the off-limits clubs, cafés, and private parties in Harlem. In its uncontainable, carnivalesque power, open forms, and sexual energy, Haitian voodoo captured an attraction to the “primitive” that affected American intellectuals and popular culture alike. Before becoming a Hollywood star, Dunham, of mixed West African and Native American roots, traveled to Haiti to study voodoo rituals for an anthropology degree at the University of Chicago. Fusing American dance, European ballet, and voodoo movements, she became a symbol of the black diaspora. In a recent film interview, Dunham recalls how her young assistant (or “girl Friday,” in the parlance of the time) Maya Deren was fascinated by Haitian dance and would use it to steal the show in rehearsals, public performances, and glitzy parties. The daughter of Russian Jewish émigrés and Trotskyite activists, Deren was struck by the power of this syncretic dance, which blended different cultural backgrounds and formed political consciousnesses while always providing entertainment and energizing dinner parties and giving voice to invisible deities. In her experimental filmmaking, Deren infused this magnetic power of dance into cinema.
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Galliera, Izabel. "Self-Institutionalizing as Political Agency: Contemporary Art Practice in Bucharest and Budapest." ARTMargins 5, no. 2 (June 2016): 50–73. http://dx.doi.org/10.1162/artm_a_00147.
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Reacting against politically monopolizing attempts at rewriting the socialist past in post-1989 Hungary and Romania, a diverse number of artists, curators, critics, activists and students have come together to form temporary organizations and institutions. Through a contextual reading and critical analysis of The Department for Art in Public Space (2009–2011) in Bucharest and DINAMO (2003–2006) and IMPEX (2006–2009) in Budapest, this article investigates what the author refers to as a “self-institutionalizing” and the ways in which this practice becomes a vehicle to rear politicized civil societies in post-cold war Central and Eastern Europe. The discussion of the two self-institutionalizing initiatives in Romania and Hungary seeks to contribute and complicate the official and institutionalized narrative of institutional critique rooted in a North American context.
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Khamisa, Zabeen. "Disruptive Garb: Gender Production and Millennial Sikh Fashion Enterprises in Canada." Religions 11, no. 4 (March 31, 2020): 160. http://dx.doi.org/10.3390/rel11040160.
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Several North American Sikh millennials are creating online values-based fashion enterprises that seek to encourage creative expression, self-determined representation, gender equality, and ethical purchasing, while steeped in the free market economy. Exploring the innovative ways young Sikhs of the diaspora express their values and moral positions in the socio-economic sphere, one finds many fashionistas, artists, and activists who are committed to making Sikh dress accessible and acceptable in the fashion industry. Referred to as “Sikh chic”, the five outwards signs of the Khalsa Sikh—the “5 ks”—are frequently used as central motifs for these businesses (Reddy 2016). At the same time, many young Sikh fashion entrepreneurs are designing these items referencing contemporary style and social trends, from zero-waste bamboo kangas to hipster stylized turbans. Young Sikh women are challenging mainstream representations of a masculine Sikh identity by creating designs dedicated to celebrating Khalsa Sikh females. Drawing on data collected through digital and in-person ethnographic research including one-on-one interviews, participant observation, and social media, as well as fashion magazines and newsprint, I explore the complexities of this phenomenon as demonstrated by two Canadian-based Sikh fashion brands, Kundan Paaras and TrendySingh, and one Canadian-based Sikh female artist, Jasmin Kaur.
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Kim, Wook-Dong. "John Steinbeck and Korean Connections." Steinbeck Review 18, no. 2 (2021): 182–200. http://dx.doi.org/10.5325/steinbeckreview.18.2.0182.
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Abstract Compared to John Steinbeck's unusually great popularity in Japan, his popularity in South Korea has been regrettably scanty. The Twenty-Ninth International PEN Congress held in Tokyo in August 1957, however, paved the way for the proper introduction of Steinbeck to South Korea on a much greater scale. In-sob Zong's interview with Steinbeck in Tokyo played a central role in making the obscure American writer widely known to Korean readers. The topics discussed in the brief interview include (1) the negative impact of mass media, such as radio, television, and advertisements, on literary artists; (2) the extent to which American writers think and write freely; (3) the role of the writer as a social or political critic; and so on. In addition, this article examines how strenuously Steinbeck tried to fight vicious Communist propaganda with regard to United Nations forces allegedly dumping germs in the Korean peninsula during the Korean War. It also maintains that Steinbeck was greatly concerned with Korea and its civil war. His bedrock conviction for the future of Korea and its people is best articulated in a series of letters he wrote to Alicia Patterson, publisher of Newsday, in 1965–67.
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Pierce, Joseph M., María Amelia Viteri, Diego Falconí Trávez, Salvador Vidal-Ortiz, and Lourdes Martínez-Echazábal. "Introduction." GLQ: A Journal of Lesbian and Gay Studies 27, no. 3 (June 1, 2021): 321–27. http://dx.doi.org/10.1215/10642684-8994028.
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Abstract This special issue questions translation and its politics of (in)visibilizing certain bodies and geographies, and sheds light on queer and cuir histories that have confronted the imperial gaze, or that remain untranslatable. Part of a larger scholarly and activist project of the Feminist and Cuir/Queer Américas Working Group, the special issue situates the relationships across linguistic and cultural differences as central to a hemispheric queer/cuir dialogue. We have assembled contributions with activists, scholars, and artists working through queer and cuir studies, gender and sexuality studies, intersectional feminisms, decolonial approaches, migration studies, and hemispheric American studies. Published across three journals, GLQ in the United States, Periódicus in Brazil, and El lugar sin límites in Argentina, this special issue homes in on the production, circulation, and transformation of knowledge, and on how knowledge production relates to cultural, disciplinary, or market-based logics.
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Putt, B. Keith. "‘And the Nothing That Is’." Journal for Continental Philosophy of Religion 5, no. 1 (March 31, 2023): 72–97. http://dx.doi.org/10.1163/25889613-bja10043.
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Abstract Richard Kearney has always insisted that his anatheistic approach to a phenomenology of the sacred stipulates a close connection with aesthetics. He supports this contention throughout his work by constantly referencing important artists, poets, novelists, and film makers. Indeed, this connection between aesthetics and his philosophy of religion has even motivated an anthology of articles entitled The Art of Anatheism. Consequently, in this essay I wish to expand that connection by examining the relationship between Kearney’s anatheism and the ‘supreme fiction’ of the American poet Wallace Stevens. To accomplish this expansion, I inspect several topics shared by the two authors, including God, faith, imagination, and ‘negative certainty’. This last topic forms something of the central focus of the essay, since I argue that the affirmative humility of faith professed by both never avoids the ‘void’ inherent in human existence that disallows every claim to the ‘innocence of an absolute’.
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Kloppmann, W., L. Leroux, P. Bromblet, P. Y. Le Pogam, A. H. Cooper, N. Worley, C. Guerrot, A. T. Montech, A. M. Gallas, and R. Aillaud. "Competing English, Spanish, and French alabaster trade in Europe over five centuries as evidenced by isotope fingerprinting." Proceedings of the National Academy of Sciences 114, no. 45 (October 23, 2017): 11856–60. http://dx.doi.org/10.1073/pnas.1707450114.
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A lack of written sources is a serious obstacle in the reconstruction of the medieval trade of art and art materials, and in the identification of artists, workshop locations, and trade routes. We use the isotopes of sulfur, oxygen, and strontium (S, O, Sr) present in gypsum alabaster to unambiguously link ancient European source quarries and areas to alabaster artworks produced over five centuries (12th–17th) held by the Louvre museum in Paris and other European and American collections. Three principal alabaster production areas are identified, in central England, northern Spain, and a major, long-lived but little-documented alabaster trade radiating from the French Alps. The related trade routes are mostly fluvial, although terrestrial transport crossing the major river basin borders is also confirmed by historical sources. Our study also identifies recent artwork restoration using Italian alabaster and provides a robust geochemical framework for provenancing, including recognition of restoration and forgeries.
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Chiang, River Ya-ling. "Graphic Poetry: How To Help Students Get The Most Out Of Pictures." Journal of College Teaching & Learning (TLC) 10, no. 3 (June 29, 2013): 179. http://dx.doi.org/10.19030/tlc.v10i3.7934.
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Thispaper attempts to give an account of some innovative work in paintings andmodern poetry and to show how modern poets, such as Jane Flanders and AnneSexton, the two American poets in particular, express and develop radically newconventions for their respective arts. Also elaborated are how such changes inartistic techniques are related to profound shifts in intellectual assumptionsand how teachers might be able to help their students get the most out ofpictures in Graphic Poetry class, apart from simply giving the students thedefinitions of the so-called graphic poetry.Modernvisual artists advocate the essential principle that art must set aside theconventions of the recent past and find new forms of expressions. Themultiplicity of perspectives, abstraction, and obscurity all characterize theartistic tendencies in the period. Jane Flanderss Van Goghs Bed and AnneSextons The Starry Night will be taken as examples to explain how the majorartists in the period experiment with new forms and advocate theories of artthat still exert influences on our ideas about the value of art. In addition, thepaper also attempts to focus on the development of the central ideas of theModernist period from within the mental world of the artists/poets discussedhere because, in the poets/painters work, there are clear marks of individualcharacter and temperament. Students can be motivated by these marks in thepainting and then can easily understand the meaning that a poem conveys andthus enjoy the words and images in it.
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Kizyma, Yuliia. "The sacred aspect of the image of the child in the early 20th century Polish and Western Ukrainian painting: socio-historical context and local specifics." Text and Image: Essential Problems in Art History, no. 1 (2021): 64–82. http://dx.doi.org/10.17721/2519-4801.2021.1.04.
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he late 19th and early 20th centuries marked significant changes in the social perception of children and childhood in Europe and the US. The phenomenon was vividly reflected in works of art, including painting. Images of children and childhood acquired new positive connotations. A rather ambiguous notion of “innocence” became one of the most important characteristics of childhood. The category was associated with children’s ability to receive more profound and intense religious experiences in comparison to those of adults. Poetry, philosophy, and art of that time emphasized this aspect of idealised childhood. In this research, we examine and compare works of easel and monumental painting on religious subjects by American and Western European as well as Polish and Ukrainian artists which depict children and childhood. We address both works intended for sacred spaces and secular paintings containing symbols and allusions borrowed from Christian imagery. The article looks into the genesis of the sacralised image of children and childhood in Western cultures, its specific features and ways of its representation in painting, including local traditions. The study focuses on the portrayal of peasant children in paintings by Polish and Ukrainian artists (Jacek Malczewski, Kazimierz Sichulski, Wlastimil Hofman, Oleksa Novakivskyi, Yulian Butsmaniuk) on religious subjects. The sacralisation of village children in Central and Eastern European art constitutes a peculiar artistic phenomenon closely associated with the social structure as well as political situation in the region. In the course of the research we employed a range of methods—formal, iconographical, iconological analysis, content analysis and semiological analysis.
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Ammentorp, Louise. "Imagining social change: Developing social consciousness in an arts-based pedagogy." Outlines. Critical Practice Studies 9, no. 1 (April 16, 2007): 38–52. http://dx.doi.org/10.7146/ocps.v9i1.2085.
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This paper is a study of a social-justice, arts-based literacy curriculum in a low income, working-class, predominately African-American school district in Newark, New Jersey. Participating students studied photography and poetry of established artists and took and developed their own photographs accompanied by written narratives. As a part of the curriculum students also wrote poetry and analytical essays. I present my findings within the context of a Vygotskian pedagogical approach that takes social consciousness and metaphor as its central concepts. The paper lays out this conceptual apparatus and deploys it to analyze the curriculum and student work. The paper argues for curriculum that develops social consciousness as the most effective for preparing students to create and participate in democratic societies. The research and analysis show that an arts based curriculum, in addition to successfully teaching literacy, is one of the most effective ways of bringing students’ life experience into the classroom for analysis and discussion, making activity at school relevant for students lives, especially those whose daily activities regularly confronts issues of life and death.
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Smith, Tyron Tyson, and Ajit Duara. "Postmodernism: The American T.V. Show, 'Family Guy, As a Politically Incorrect Document." Revista Gestão Inovação e Tecnologias 11, no. 4 (August 24, 2021): 4868–84. http://dx.doi.org/10.47059/revistageintec.v11i4.2510.
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Postmodernism is a movement that grew out of modernism. Movements in art, literature, and cinema focused on a particular stance. The visual artists who created entertainment focused on expressing the creator herself/himself beginning from German expressionism to modernism, surrealism, cubism, etc. These art movements played an important part in what an artist (literature, art, and visual) portrayed to his or her audience. As perspectives played an important part, an understanding of what the artist needed to portray was critical. Modernism dealt with this portrayal, which came about due to the changes taking place in society. In terms of the industry, where the overall product dealt with features like individualism, experimentation and absurdity, modernism dealt with a need to overthrow past notions of what painting, literature, and the visual arts needed to be. "After World War II, the focus moved from Europe to the United States, and abstract expressionism (led by Jackson Pollock) continued the movement's momentum, followed by movements such as geometric abstractions, minimalism, process art, pop art, and pop music." Postmodernism helped do away with these shortcomings. An understanding of postmodernism is explored in this paper. The main point which sets it apart is concepts like pastiche, intersexuality, and spectacle. Concerning pop culture, an understanding of referencing is a constant trait used by postmodern art. Postmodern television and the central part of this study applied to the popular animated American TV show, 'family guy' is a postmodern show in its truest form, while attempting to use certain aspects of postmodernism tropes to help emphasize that visual art can be considered a historical document while doing an in-depth analysis of the visual text of 'family guy by itself, several other research papers were used to help further put in stone that 'family guy' is a true representation of postmodern television. It is divided into two phases of data collection: context analysis, which involves a qualitative study. The second being in-depth interviews (also qualitative) which in itself helps give a subjective view of participants between the ages of 20 and 28. These comprise students who are familiar with the show and the concepts of the show. All of them, both frequent viewers of the show and those also politically informed of world politics, helped further emphasize the concept of the paper, which was the idea of how a television show in all its absurd narrative and pastiche functions as a historical document. The purpose of this study, along with the results for this research, is to help bring about the comprehension of how postmodern shows are influenced by other past events, figures of history, etc.; this understanding can explain how a television show like 'family guy could be considered a historical document – by its narrative, by the cultural references connected to these said events, and also with the help of paintings, which the makers of the show use to design the episode of the show, and which reflect and refer to the actual historical figures. Historiography is being proven to be biased in more ways than one, which leads us to an understanding of a different narrative depending on one’s own opinions of history and historical documents as we know it.
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Kirkley, Richard Bruce. "Caravan Farm Theatre: Orchestrated Anarchy and the Creative Process." Canadian Theatre Review 101 (January 2000): 35–39. http://dx.doi.org/10.3138/ctr.101.007.
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Caravan Farm Theatre, located in the Salmon River Valley north-west of Armstrong, BC, has been delighting audiences with original and unconventional outdoor theatre for thirty years. Since its beginnings in the late sixties as a horse-drawn caravan, the company has long been dedicated to the development of a counter-cultural theatre and lifestyle in opposition to the technological and consumerist preoccupations of the North American mainstream. With its roots in sixties radicalism, in street theatre and guerrilla theatre and in experiments with collective creation and communal living, Caravan’s approach to theatre is fundamentally informed by an ideology of anarchism. Through recent interviews with theatre artists closely associated with Caravan, including actor/play-wright Peter Anderson, former artistic director Nick Hutchinson, current co-artistic director Estelle Shook and former publicist Ken Smedley, I inquired into the nature of a creative process underscored by the need to reconcile the tension between individuality and collectivity – a tension central to the practical pursuit of anarchism. The interviews reveal how the anarchistic ideals deeply embedded in Caravan’s way of working give rise to an unorthodox, yet effective, creative process that generates performances of great spontaneity and immediacy.
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Ivanova, S. V., and L. A. Volodina. "The influence of Czech and Russian humanist educators on the development of children’s literature in France in the first half of the twentieth century." Literature at School, no. 4, 2020 (2020): 43–55. http://dx.doi.org/10.31862/0130-3414-2020-4-43-55.
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The article discusses the development of children’s literature in France, which influenced all European children’s literature, which went along the path of education, training and parenting, in contrast to American children’s literature, which took a course primarily on entertainment. The study presents the reasons for the pedagogical path of children’s French literature, shows the foundations of approaches that are rooted in the humanistic ideas of the Russian writer and educator L.N. Tolstoy, the Czech educator F. Bakule and his follower L. Havranek. Russian artists who emigrated from the Soviet Russia (for various reasons), but who were closely connected with the Russian education, also played a fundamental role in this influence. The influence of the concept of the development of children by means of art, developed by F. Bakule, on the publishing projects of the French educator P. Faucher is analyzed in particular. The scientist, educator, book publisher P. Faucher is shown as the central figure of this successful book-publishing project. His role in this project, as well as his importance as a person who influenced the development of children’s literature, are known. At the same time, little is known about the sources of his pedagogical creativity, his book publishing ideas, and there is no scientific coverage of the role of artists in the implementation of pedagogical ideas in book publishing. The issue is resolved by the example of the publication of a series of children’s books “Albums of Father Beaver”, which had been published for about thirty years (in the 1930s and 1960s), was translated into 20 languages. In 2018, the series was included in the UNESCO Memory of the World Register. The article is to some extent interdisciplinary in nature, the authors needed to turn, first of all, to the pedagogical science, but also to the art criticism and research in the field of book publishing.
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Esparza, Araceli. "Latino? Chicano? Guatemalan American? Queer Visual Artist?" Aztlán: A Journal of Chicano Studies 47, no. 2 (2022): 21–50. http://dx.doi.org/10.1525/azt.2022.47.2.21.
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In this essay, I examine how scholars and art critics have categorized Guatemalan American visual artist Alex Donis and how he has self-identifi ed. I argue that the roles in which Donis has been cast underscore the ways US Central Americans are made invisible within discussions of Latina/o/x and LGBTQ+ art. I critically analyze two of his works, the silkscreen Rio, por no llorar (1988) and the painting Guatemala vs USA (Carlos (El Pescadito) Ruiz & Carlos Bocanegra) (2014), tracing a Guatemalan and Central American presence in Donis’s visual art that is often overlooked in favor of a Chicanocentric framing in conversations about his work. While recognizing the infl uence that Chicana/o/x art and culture have had on Donis, I locate Donis and his visual art as a critical entry point into how US Central Americans have been rendered invisible within both dominant US and Latina/o/x imaginaries of Latinidad and imaginaries of queerness. Establishing a more complex understanding of Donis and his body of work, I discuss his oeuvre through a relational, intersectional, and transnational lens that allows for a multilayered understanding of his positionality within the frameworks of Latina/o/x ethnoracial identity formation, Chicana/o/x cultural production, and US Central American cultural and historical specifi city.
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Cohen, Michele. "Boys' and Girls' High School: Art and Politics in the Civil Rights Era." Prospects 30 (October 2005): 715–49. http://dx.doi.org/10.1017/s0361233300002246.
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The story of public art in the United States is also the story of American democratic institutions. Our public schools in particular, malleable and shifting under changing societal expectations, provide clues about the nature of our educational enterprise in their very design and the commissioned art that enhances them. In New York City, home to the nation's largest public school system and one of the first, art in schools is a barometer of aesthetic preferences and a measure of larger social issues. The constellation of events that led to the decentralization of New York City's schools in 1970 also led to the creation of an outstanding collection of work by African-American artists at Brooklyn's Boys' and Girls' High School.Better known for its athletics and as the school that hosted Nelson Mandela than for its public art, Boys' and Girls' High School first opened its doors as the Central School, with a Girls' department on Nostrand Avenue and a Boys' department on Court Street. In 1886, the Girls' department moved into a new building on Nostrand Avenue and in September 1890 school officials changed the official organization of the school to two schools, with Girls' High School on Nostrand Avenue (with added wings under construction) and Boys'High School (under construction) on Marcy Avenue. By 1960, efforts were under way to build a replacement school. The planning of the new Boys' and Girls' High School coincided with the fight by New York City minority groups for local school control, and the commissioning of art for the new building was paradigmatic of this struggle.
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Johnson, Katie N. "Black to Ireland: Circum-Atlantic Double Exposure and Racialized Jump Cuts in The Emperor Jones." MELUS 44, no. 4 (2019): 147–76. http://dx.doi.org/10.1093/melus/mlz053.
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Abstract The Emperor Jones (1933) was a film aimed at critiquing empire while also evoking the black diaspora. Yet the film was created by a team of Irish-American artists (playwright Eugene O’Neill, director Dudley Murphy, and actor Dudley Digges). Their work on The Emperor Jones came from a commitment to the idea that the colonization of Ireland was of a piece with the results of anti-black racism, colonialism and imperialism (although not similar), and as a way of negotiating their own contested relationship with legitimating structures in white, US culture. The film’s racial politics, which have been debated since its premiere, repeatedly interlink a range of global and circum-Atlantic legacies of white imperialism. The Emperor Jones abounds with contradictions: it both shattered racial constraints in American film while also articulating racial anxieties. We can see this manifested in two ways. First, the film’s anti-imperialist, antiracist ambitions are visible in the director’s attempt to overlay different cartographies, memories, and experiences of racial violation with a technique that I call “circum-Atlantic double exposure.” The second characteristic, which I call the “racialized jump cut,” is the mark of state censors and local projectionists who spliced out potentially inflammatory material from the film. Central to my argument is that double-exposure works together with racialized jump cuts in The Emperor Jones: the cut points to the doubling; the dissolve highlights the (w)hole. These two strikingly divergent and paradoxical features of the film—the director’s accretions and the state’s depletions—expose the problematics of representing imperial violence.
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Flores, Tatiana, and Harper Montgomery. "Dialogues." Latin American and Latinx Visual Culture 2, no. 2 (2020): 74–78. http://dx.doi.org/10.1525/lavc.2020.220006.
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The Getty Foundation's 2017 initiative Pacific Standard Time: LA/LA provided a rare instance in which art historians and curators collaborated closely on extended research projects aimed at expanding narratives about Latin American and Latinx art and culture. It pondered how art history might be reimagined to address the complex geographies and temporalities of Latin/x American art, honoring specificities while also proposing new frameworks. Taken as a whole, the exhibitions also exposed the constraints of curatorial practice to generate new epistemologies, calling attention to the shortcomings of conventional art historical methods and their tendency to reproduce predetermined structures for organizing knowledge when they go unquestioned. Inspired by the multitude of generative conversations produced in the wake of PST: LA/LA, this Dialogue addresses the methodological constraints of art historical, curatorial, and artistic practices by inviting contributors to reflect on how their methods have been shaped by the demands of the field. This Dialogue includes an introductory text by Tatiana Flores and Harper Montgomery in which they argue for the utility of the concepts of “radical inclusion,” developed by the philosopher Gerald Raunig, and “complex connectivity,” coined by sociologist John Tomlinson, and six essays in which the authors address questions of ethics, inclusion, and historiography: Amy Buono focuses on museums and collections in Brazil, Laura Anderson Barbata on a papermaking project in the Venezuelan Amazon, Erina Duganne on activist artists in Central America and the United States, Alma Ruiz on her efforts to promote the collecting and exhibition of Latin American art in Los Angeles, Edith A. G. Wolfe on pedagogy and post-hurricane Puerto Rico, and Ana María Reyes on symbolic reparations in Colombia and Brazil. La iniciativa de la Fundación Getty Pacific Standard Time: LA / LA, del año 2017, dio lugar a proyectos poco usuales en que historiadores y curadores de arte se propusieron dar cuenta de manera más completa y robusta del arte y la cultura latinoamericanos y latinxs. Se reflexionó sobre cómo se podría reinventar la historia del arte para abordar las complejas geografías y temporalidades del arte latinoamericano y latinx, respetando sus especificidades al tiempo que proponía nuevos marcos. En conjunto, las exposiciones también revelaron las limitaciones de la práctica de los curadores, generando, de este modo, nuevas epistemologías, que llaman la atención sobre las deficiencias de los métodos convencionales de la historia del arte y sobre su tendencia a reproducir estructuras predeterminadas para organizar el conocimiento cuando estos métodos no se cuestionan. Inspirado por la enorme cantidad de fructíferas conversaciones habidas durante Pacific Standard Time: LA / LA, el presente Diálogo aborda las limitaciones metodológicas de las prácticas históricas, curatoriales y de la historia del arte al invitar a quienes aportan a este espacio a reflexionar sobre cómo sus métodos han sido moldeados por las demandas del campo. Este Diálogo incluye un texto introductorio de Tatiana Flores y Harper Montgomery, en el que estos abogan por la utilidad de los conceptos de “inclusión radical”, desarrollado por el filósofo Gerald Raunig, y “conectividad compleja”, acuñado por el sociólogo John Tomlinson, y seis ensayos, en el que los autores abordan cuestiones de ética, inclusión e historiografía: Amy Buono se centra en museos y colecciones en Brasil, Laura Anderson Barbata lo hace en un proyecto de fabricación de papel en la Amazonía venezolana, Erina Duganne en artistas activistas en América Central y los Estados Unidos, Alma Ruiz sobre sus esfuerzos para promover la recolección y exhibición de arte latinoamericano en Los Ángeles, Edith A. G. Wolfe sobre pedagogía y Puerto Rico después del huracán, y Ana María Reyes sobre reparaciones simbólicas en Colombia y Brasil. A iniciativa de 2017 da Fundação Getty, Pacific Standard Time: LA/LA proveu uma rara instância na qual historiadores e curadores de arte colaboraram estreitamente em projetos de pesquisa ampliados, com o objetivo de expandir narrativas sobre arte e cultura latino-americana e latinx. Ponderou-se como a história da arte pode ser reimaginada para endereçar as complexas geografias e temporalidades da arte latino-americana e latinx, honrando suas especificidades e, ao mesmo tempo, propondo novos enquadramentos. Tomadas como um todo, as exposições também expuseram as restrições da prática curatorial para gerar novas epistemologias, chamando a atenção para as deficiências dos métodos históricos da arte convencionais e sua tendência a reproduzir estruturas pré-determinadas para a organização do conhecimento quando não são questionados. Inspirado pela multitude de conversas generativas produzidas após o PST:LA/LA, esse Diálogos aborda as restrições metodológicas de práticas históricas da arte, curatoriais e artísticas, convidando contribuidores para refletir sobre como os seus métodos foram moldados pelas demandas do campo. Esse Diálogos inclui um texto introdutório por Tatiana Flores e Harper Montgomery, no qual argumentam pela utilidade dos conceitos de “inclusão radical”, desenvolvido pelo filósofo Gerald Raunig, e “conectividade complexa”, cunhado pelo sociólogo John Tomlinson, e seis ensaios nos quais os autores abordam questões de ética, inclusão e historiografia: Amy Buono se concentra em museus e coleções no Brasil, Laura Anderson Barbata em um projeto de fabricação de papel na Amazônia venezuelana, Erina Duganne em artistas ativistas na América Central e nos Estados Unidos, Alma Ruiz em seus esforços para promover a coleção e exibição da arte latino-americana em Los Angeles, Edith A. G. Wolfe em pedagogia e no Porto Rico pós-furacão e Ana María Reyes em reparações simbólicas na Colômbia e no Brasil.
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Sherazi, Melanie Masterton. "Projecting Liberation in Postwar Italian Cinema." Pacific Coast Philology 56, no. 1 (April 1, 2021): 78–98. http://dx.doi.org/10.5325/pacicoasphil.56.1.0078.
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The transnational flows of cultural capital generated by African American artists working in postwar Rome, with its thriving film industry and where many performers found ample work in the culture industries, remain largely unexamined. An exploration of the film Anna’s Sin (1952), through its core cast members’ careers and key scenes, demonstrates desegregationist and antifascist cultural work in the postwar Italian cinema and complicates divisions of high and popular culture. The film’s active attempts at undoing binarisms of race, class, gender and culture—however incomplete—emerge from the period’s mounting political struggles for greater social freedoms and mobilities. These dynamics play out on screen in a postwar Roman milieu but are inextricably wrapped up with the US Black freedom struggle. Through its main characters’ lives, both on and off screen, Anna’s Sin juxtaposes the struggles of racialized and gendered subjects. The film projects on screen new modes of relationality, particularly through its central interracial love story, presenting its viewers with new possibilities for seeing and being in the world. With an eye toward the then utopic horizon of the 1960s, such postwar filmic work made anticipatory claims upon its transnational audiences to imagine and to activate better, more expansive futures.
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Mihaylova, Stefka. "The Radical Formalism of Suzan-Lori Parks and Sarah Kane." Theatre Survey 56, no. 2 (May 2015): 213–31. http://dx.doi.org/10.1017/s0040557415000083.
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When Suzan-Lori Parks's play Venus, about the displays of Saartjie Baartman in early nineteenth-century Europe, opened in 1996, the outrage it provoked by suggesting that its central, black character may have been complicit in her plight raised yet again one of the most inspiring and frustrating questions in modern US theatre history: how to stage the racial Other. Even the most sympathetic responses to the play revealed the difficulty of assuming a critical stance toward the racially marked body (especially the black female body) that is affectively fixed as a symbol of martyrdom and victimization. In fact, Shannon Jackson has proposed that the racially marked body's resistance to being reduced to a critical sign, free from affect, may be definitive of race as a social phenomenon. As US theatre history demonstrates, onstage this resistance is highly productive of controversy, much of which has focused on the question of which representational contracts may most accurately convey the experiences of racially marked people. In this sense, art critic Abiola Sinclair's reading of Parks's experimental aesthetic as a traitorous concession to a white theatrical tradition was unexceptional; it was a reminder of the historical efforts of African American artists to create distinctly black art.
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Robertson, Jack. "KÜNSTLER DER JUNGEN GENERATION: LITERATURVERZEICHNIS ZUR GEGENWARTSKUNST IN DER AMERIKA-GEDENKBIBLIOTHEK BERLINER ZENTRALBIBLIOTHEK = ARTISTS OF THE "YOUNG GENERATION": LITERATURE ON CONTEMPORARY ART IN THE AMERICAN MEMORIAL LIBRARY BERLIN CENTRAL LIBRARY." Art Documentation: Journal of the Art Libraries Society of North America 8, no. 3 (October 1989): 150–51. http://dx.doi.org/10.1086/adx.8.3.27948097.
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Tyron, T. S., and D. Ajit. "Postmodernism and its emotional impact: The American T.V. Show, ‘Family Guy, as a Politically Incorrect Document." CARDIOMETRY, no. 23 (August 20, 2022): 226–35. http://dx.doi.org/10.18137/cardiometry.2022.23.226235.
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Postmodernism is a movement that grew out of modernism. Movements in art, literature, and cinema focused on a particular stance. The visual artists who created entertainment focused on expressing the creator herself/himself beginning from German expressionism to modernism, surrealism, cubism, etc. These art movements played an important part in what an artist (literature, art, and visual) portrayed to his or her audience. As perspectives played an important part, an understanding of what the artist needed to portray was critical. Modernism dealt with this portrayal, which came about due to the changes taking place in society. In terms of the industry, where the overall product dealt with features like individualism, experimentation and absurdity, modernism dealt with a need to overthrow past notions of what painting, literature, and the visual arts needed to be. “After World War II, the focus moved from Europe to the United States, and abstract expressionism (led by Jackson Pollock) continued the movement’s momentum, followed by movements such as geometric abstractions, minimalism, process art, pop art, and pop music.” Postmodernism helped do away with these shortcomings. An understanding of postmodernism is explored in this paper. The main point which sets it apart is concepts like pastiche, intersexuality, and spectacle. Concerning pop culture, an understanding of referencing is a constant trait used by postmodern art. Postmodern television and the central part of this study applied to the popular animated American TV show, ‘family guy’ is a postmodern show in its truest form, while attempting to use certain aspects of postmodernism tropes to help emphasize that visual art can be considered a historical document while doing an in-depth analysis of the visual text of ‘family guy by itself, several other research papers were used to help further put in stone that ‘family guy’ is a true representation of postmodern television. It is divided into two phases of data collection: context analysis, which involves a qualitative study. The second being in-depth interviews (also qualitative) which in itself helps give a subjective view of participants between the ages of 20 and 28. These comprise students who are familiar with the show and the concepts of the show. All of them, both frequent viewers of the show and those also politically informed of world politics, helped further emphasize the concept of the paper, which was the idea of how a television show in all its absurd narrative and pastiche functions as a historical document. The purpose of this study, along with the results for this research, is to help bring about the comprehension of how postmodern shows are influenced by other past events, figures of history, etc.; this understanding can explain how a television show like ‘family guy could be considered a historical document – by its narrative, by the cultural references connected to these said events, and also with the help of paintings, which the makers of the show use to design the episode of the show, and which reflect and refer to the actual historical figures. Historiography is being proven to be biased in more ways than one, which leads us to an understanding of a different narrative depending on one’s own opinions of history and historical documents as we know it.
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Thompson, Jennifer Joan. "Each/Every: CADA's Radically Democratic Dramaturgy of Dissent." Theatre Survey 61, no. 1 (January 2020): 4–27. http://dx.doi.org/10.1017/s0040557419000413.
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We are therefore saying that the work of expanding the habitual levels of life is the only valid art installation / the only exhibition / the only work of art that lives.We are artists and we feel ourselves participating in the grand aspirations of all, presuming today, with South American love, the gliding of eyes over these lines.Oh, South America.In this way, together, we construct the beginning of the work: a recognition in our minds; erasing the trades: life as a creative act …That is the art / the work / this is the work of art that we propose.—¡Ay Sudamérica!, Colectivo Acciones de Arte, July 1981At 11 a.m. on 11 September 1973, the Chilean Air Force bombed the presidential palace, La Moneda, as part of an attack that ended the presidency of Salvador Allende, suspended democracy, and initiated the repressive military dictatorship of Augusto Pinochet. Eight years later, on 12 July 1981, in the midst of dictatorship, six airplanes again flew over Santiago in military formation. This time, however, the planes did not drop bombs. Instead, they scattered four hundred thousand pamphlets with a text that urged Chileans to claim their space, thoughts, and lives by asserting the potential for artistry within all people. This art action, titled ¡Ay Sudamérica! (Oh, South America!) and orchestrated by the Colectivo Acciones de Arte (Art Actions Collective, or CADA), subversively re-created a central moment from the violent history of the military coup in order to disturb and articulate an alternative course for that history (Fig. 1). In doing so, CADA challenged the regime's conception of Chilean citizenship by calling for an expanded space of existence and invoking the possibility of an artistic and contestatory subjectivity within everyone.