Concentrationary Art: Jean Cayrol, the Lazarean and the Everyday in Post-war Film, Literature, Music and the Visual Arts. Edited by Griselda Pollock and Max Silverman

2020 ◽  
Vol 74 (4) ◽  
pp. 654-655
Author(s):  
Helena Duffy
Keyword(s):  
Visual Arts ◽  
The Everyday ◽  
Post War ◽  
War Film

scholarly journals Digitizing artist periodicals: new methodologies from the Digital Humanities for Analysing Artist Networks

2014 ◽  
Vol 39 (4) ◽  
pp. 6-11
Author(s):  
Thomas Crombez
Keyword(s):  
Visual Arts ◽  
Small Groups ◽  
Digital Humanities ◽  
First Generation ◽  
Digital Archive ◽  
Avant Garde ◽  
Socially Engaged Art ◽  
The Sixties ◽  
New Methodologies ◽  
Post War

The research project Digital Archive of Belgian Neo-Avant-garde Periodicals (DABNAP) aims to digitize and analyse a large number of artists’ periodicals from the period 1950–1990. The artistic renewal in Belgium since the 1950s, sustained by small groups of artists (such as G58 or De Nevelvlek), led to a first generation of post-war artist periodicals. Such titles proved decisive for the formation of the Belgian neo-avant-garde in literature and the visual arts. During the sixties and the seventies, happening and socially-engaged art took over and gave a new orientation to artist periodicals. In this article, I wish to highlight the challenges and difficulties of this project, for example, in dealing with non-standard formats, types of paper, typography, and non-paper inserts. A fully searchable archive of neo-avant-garde periodicals allows researchers to analyse in much more detail than before how influences from foreign literature and arts took root in the Belgian context.

FEATURES OF THE INDUSTRIAL THEME DEVELOPMENT IN THE CREATIVITY OF DAGESTAN ARTISTS

2020 ◽  
pp. 92-96
Author(s):  
Zaripat Abdullaevna Akhmedova
Keyword(s):  
Visual Arts ◽  
Fine Art ◽  
Complete Study ◽  
Post War

The author of the article considers the industrial theme as one of the important themes in the genre of house-hold paintings in the visual arts of Dagestan. The analyzed works reveal the peculiarities and diversity in the development of the theme during its formation, and in the post-war period. The scientific turnover includes previously unexplored works, which are of particular interest for a more complete study of genre (household) paintings in Dagestan fine art.

Post-War Blues (1945–1947)

2016 ◽  
Author(s):  
James King
Keyword(s):  
New York ◽  
New York City ◽  
Visual Arts ◽  
York City ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Post War ◽  
Similar Kind ◽  
At Home

This chapter details events in Roland Penrose's life from 1945 to 1947. Lee and Roland flew to New York City on 19 May 1946. Roland was elated to have the opportunity to rekindle his relationship with the Museum of Modern Art's (MOMA) director Alfred H. Barr, Jr., who likely warned him about the dangers he would face if he backed any kind of proposal to open a museum of modern art in London. Roland was taken with MOMA's collection: ‘Realizing that it was on a far greater scale that anything that could be dreamt of in London, consistently indifferent to all matters concerning the visual arts and still enfeebled by the war, this achievement nevertheless roused in me a longing to attempt some similar kind of folly at home’. Barr would also have expressed his gratitude to Roland for allowing his Picassos to be sent to MOMA during the war.

Night Raiders

2019 ◽  
Author(s):  
Eloise Moss
Keyword(s):  
Residential Buildings ◽  
Urban Life ◽  
Night Time ◽  
Security Technologies ◽  
Modern Britain ◽  
The Everyday ◽  
History Of ◽  
State And Market ◽  
Post War ◽  
The City

Night Raiders: Burglary and the Making of Modern Urban Life in London, 1860–1968 is the first history of burglary in modern Britain. Until 1968, burglary was defined in law as occurring only between the ‘night-time’ hours of nine p.m. and six a.m. in residential buildings. Time and space gave burglary a unique cloak of terror, since burglars’ victims were likely to be in the bedroom, asleep and unawares, when the intruder crept in, prowling near them in the darkness. Yet fear sometimes gave way to sexual fantasy. Eroticized visions of handsome young thieves sneaking around the boudoirs of beautiful, lonely heiresses emerged alongside tales of violence and loss in popular culture, confounding social commentators by casting the burglar as criminal hero. Night Raiders charts how burglary lay historically at the heart of national debates over the meanings of ‘home’, experiences of urban life, and social inequality. This book explores intimate stories of the devastation caused by burglars’ presence in the most private domains, showing how they are deeply embedded within broader histories of capitalism and liberal democracy. The fear and fascination towards burglary were mobilized by media, state, and market to sell insurance and security technologies, whilst also popularizing the crime in fiction, theatre, and film. Cat burglars’ rooftop adventures transformed ideas about the architecture and policing of the city, and post-war ‘spy-burglars’ theft of information illuminated Cold War skirmishes across the capital. More than any other crime, burglary shaped the everyday rhythms, purchases, and perceptions of modern urban life.

‘It was good to get out into the fresh air after seeing this film’: Horror, Realism and Censorship in Post-Second World War Britain

2017 ◽  
Vol 14 (1) ◽  
pp. 98-115
Author(s):  
Paul Frith
Keyword(s):  
Social Issue ◽  
Second World War ◽  
The Other ◽  
World War ◽  
The Press ◽  
The Everyday ◽  
British Cinema ◽  
Post War ◽  
The Uk ◽  
Second World

Existing research on British cinema during the 1940s has often assumed an opposition between realism and fantasy or, as it is also known, ‘realism and tinsel’. However, through an analysis of contemporary critical reception and censorship discourses, it becomes apparent that this division was nowhere near as clearly defined as is often argued. While the ‘quality’ realist film of the 1940s demonstrates a concern with verisimilitude and the reproduction of the surface appearances of reality, when confronting the darker aspects of reality, realism was deemed to be far more closely associated with the horrific. Following a number of decisions made by the British Board of Film Censors (BBFC) which were heavily criticised by the local authorities and the press, the Board became increasingly wary of these horrific confrontations with the everyday. The release of The Snake Pit (1948) in the UK sparked a series of debates in the press, with one side questioning the suitability of a film dealing with the particularly sensitive subject matter of mental illness for the purpose of shocking and horrifying audiences, and the other side championing the maturity shown by Hollywood when dealing with an important social issue. This article therefore looks beyond traditional perceptions of 1940s British cinema in order to demonstrate a shift in the role played by both realism and horror in the post-war period.

Coming to Terms with Horror

2015 ◽  
Vol 11 (2) ◽  
Author(s):  
Fatima Festić
Keyword(s):  
Social Relations ◽  
Ethnic Relations ◽  
National Identities ◽  
Individual Responsibility ◽  
The Past ◽  
Memory Work ◽  
The People ◽  
The Social ◽  
The Everyday ◽  
Post War

AbstractThe paper discusses the possibilities of building a framework for conceptualization and understanding of the effects of the atrocities committed upon the collapse of ‘ex-Yugoslavia’. It relates the war-horrors and personal and collective traumas to the everyday of the people(s) of both the communist and post-communist times, and includes empirical cross-references from the social relations, cultural, educational and political contexts while revealing the ambivalent meanings of the ‘ghosts of the past’ and of their ‘return’. In rethinking the notions of the signifier, representation, the abject from the social/the symbolic, the text argues for the centrality of memory work based on victims’ experiences and their articulation in public spaces in the post-war societies. Envisioning the move forward and safer inter-ethnic relations on the discussed territories argues for individual responsibility in the processes of (re)construction and (re)formation of complex personal, collective and national identities, lived memory and institutions and in attempts to inter- and intracommunicate the particularized units.

scholarly journals Religious Motifs in Polish Contemporary Art Using the Crucifixion: An Outline of the Problem

2020 ◽  
Vol 28 (1) ◽  
pp. 149-166
Author(s):  
Beata Bigaj-Zwonek
Keyword(s):  
Twentieth Century ◽  
Contemporary Art ◽  
Visual Arts ◽  
Social Problems ◽  
Human Condition ◽  
Artistic Expression ◽  
The Political ◽  
Artistic Practice ◽  
The World ◽  
Post War

Sacred motifs have a long tradition in art and ample figurative representation. They have been present in the visual arts for numerous reasons, from the need to identify faith to artistic expression based on commonly-known truths and stories saturated with meaning. In the art of the twentieth century, Christian motifs were often an excuse to speak about the world, its threats and fears, and the human condition. Polish artists frequently availed themselves of religious symbols and systems in the post-war era, and during the political transforma­tion of the 1980s, they became a way to articulate uncertainty, expectation, and hope for change. Today, the religious trope is a pretext for artistic commentary on religion, social problems, and internal issues of the creators themselves. The article explores the causes and the nature of artistic practice rooted in Christian iconography in Polish contemporary art, with a particular emphasis on the motif of the crucifixion.

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