The Fate of Landscape in Post-War Japanese Art and Visual Culture

2018 ◽  
pp. 195-214 ◽  
Keyword(s):  
Visual Culture ◽  
Japanese Art ◽  
Post War

scholarly journals Collections of Japanese Art in Ukraine

2020 ◽  
Vol 3 (2(6)) ◽  
pp. 109-123
Author(s):  
Alla Ozhoha-Maslovska
Keyword(s):  
19Th Century ◽  
Political System ◽  
Art Museum ◽  
National Museum ◽  
Literature Information ◽  
Professional Literature ◽  
Art Collections ◽  
Japanese Art ◽  
Post War ◽  
The 19Th Century

The stages of the formation of Japanese art collections on the territory of Ukraine from the beginning of the 19th century to the present are highlighted on the basis of archival materials, periodicals and professional literature. Information about Japanese collections of the pre-war and post-war periods are systematized, while their composition and sources of formation are determined. The influence of the socio-political system on the development of the process of collecting Japanese art in Ukraine is also analysed. The sources of the formation of collections of Japanese art in the collections of The Bohdan and Varvara Khanenko National Museum of Arts in Kyiv, Odessa Museum of Western and Oriental Arts, the Chinese Palace of “Zolochiv Castle” Museum-Reserve, as well as Kharkiv Art Museum are explored. Finally, modern tendencies in the collection of Japanese art in Ukraine are determined.

Alternative Remembrances

2016 ◽  
Vol 9 (1) ◽  
pp. 3-27
Author(s):  
Nour K. Sacranie
Keyword(s):  
Middle East ◽  
Visual Culture ◽  
Academic Writing ◽  
Peace Building ◽  
Critical Material ◽  
History And Memory ◽  
The Arts ◽  
Art Practices ◽  
Art Scene ◽  
Post War

Memory of the civil war in Lebanon is fractured if not completely broken, and its history remains officially unwritten. A lack of reconciliation or peace-building initiatives suggests that the causes for the conflict have simply been masked or ignored rather than cured. Existing scholarship has examined the absence of a national collective memory or unified history in Lebanon, with some speculation that the persistent fault lines in the country’s multi-factional and multi-religious society may lead to a relapse of the violence. While there have been some curatorial endeavors in the field, little popular criticism and even less academic writing focuses on contemporary visual culture in Lebanon or the wider Middle East. It is only in recent years that due attention has been paid to the vibrant art scene in the region, and the dearth in critical material has been addressed. With this in mind, this paper aims to contribute to the wider burgeoning conversation about critical art practices in the Middle East. In analyzing the work of three Lebanese ‘post-war’ artists, questions about the nature of wartime history and memory are asked in relation to visual culture. The article asks what art is doing in the context of Lebanese post-war society, and while it may not be possible to answer this question fully, there is an underlying need to re-evaluate the way the arts are viewed in contemporary discourse, as pioneered by Jacques Ranciere and Jill Bennet, among others.

scholarly journals Interpreting Bert Hardy's photographic collection at the Art Gallery of Ontario

2021 ◽  
Author(s):  
Guanchen Yu
Keyword(s):  
World War Ii ◽  
Visual Culture ◽  
British Society ◽  
Full Description ◽  
World War ◽  
Art Gallery ◽  
The Third ◽  
Art Gallery Of Ontario ◽  
Post War ◽  
The Relationship

This subject of this thesis is a collection of Bert Hardy photographs donated to the Art Gallery of Ontario (AGO) in 2007. Hardy (1913-1995), worked as a photojournalist for Picture Post from 1940 - 1957 during which time he covered many aspects of British life after World War II. Hardy’s contribution to British visual culture is traced in three chapters beginning with a literature survey that covers the context of his work in post-war British society. The second chapter gives a full description of the collection and further analyzes the style of Hardy’s photographs. The third chapter examines the history Picture Post and the context in which its editors worked. Looking at the the relationship between photographers and editors in the picture press, it examines how Stefan Lorant and Tom Hopkinson edited and captioned Bert Hardy’s photographs for use in the Picture Post.

scholarly journals Interpreting Bert Hardy's photographic collection at the Art Gallery of Ontario

2021 ◽  
Author(s):  
Guanchen Yu
Keyword(s):  
World War Ii ◽  
Visual Culture ◽  
British Society ◽  
Full Description ◽  
World War ◽  
Art Gallery ◽  
The Third ◽  
Art Gallery Of Ontario ◽  
Post War ◽  
The Relationship

This subject of this thesis is a collection of Bert Hardy photographs donated to the Art Gallery of Ontario (AGO) in 2007. Hardy (1913-1995), worked as a photojournalist for Picture Post from 1940 - 1957 during which time he covered many aspects of British life after World War II. Hardy’s contribution to British visual culture is traced in three chapters beginning with a literature survey that covers the context of his work in post-war British society. The second chapter gives a full description of the collection and further analyzes the style of Hardy’s photographs. The third chapter examines the history Picture Post and the context in which its editors worked. Looking at the the relationship between photographers and editors in the picture press, it examines how Stefan Lorant and Tom Hopkinson edited and captioned Bert Hardy’s photographs for use in the Picture Post.

scholarly journals Framing the war in the post war era: Exploring the counter-narratives in frames of an Iranian war photographer thirty years after the ceasefire with Iraq

2018 ◽  
Vol 12 (4) ◽  
pp. 392-410
Author(s):  
Younes Saramifar
Keyword(s):  
Visual Culture ◽  
Master Narrative ◽  
Islamic Republic ◽  
Counter Narrative ◽  
Counter Narratives ◽  
Islamic Republic Of Iran ◽  
Post War ◽  
At Home

The battle between Iran and Iraq ended with a ceasefire being signed in 1988 but the war continued for most Iranians and their leadership. Even today after three decades, the war continues for Iranians who live in the borderlands as they struggle with the landmines and left-overs of the battles. Mehdi Monem, a celebrated Iranian war photographer, frames the pain of Iranians in the borderlands as the counter-narrative that challenges the mainstream frames of propaganda. He challenges the master narrative of the Islamic Republic of Iran that generates meanings for the frames of the war through notions of martyrdom and sacrifice. Hence, I follow his work in the context of the visual culture of martyrdom via an ethnography that explains how Iranians receive the pain of others 30 years after the war at home and abroad.

Virtual Orientalism/Imagined Dualism (VO/ID) Expansion

2021 ◽  
pp. 53-71
Author(s):  
Aya Kamperis
Keyword(s):  
Social Media ◽  
Visual Culture ◽  
The Self ◽  
The Other ◽  
Contemporary World ◽  
Product Service ◽  
The Us ◽  
Aesthetic Style ◽  
Post War ◽  
Insight Into

In Virtual Orientalism, Jane Naomi Iwamura extends Edward Said's theory through an analysis of the US post-war visual culture to trace the genealogy of the icon of the East she calls the ‘Oriental Monk'. The aim of the chapter is to explore the appropriation of the notion of Zen, particularly its application and exploitation as an aesthetic ‘style', and the mechanisms behind such phenomena. The chapter extends Iwamura's thesis to elaborate on the function of the Virtual Monk to question the development of its ontology in the contemporary world of neoliberalism and social media to introduce the concept of VO/ID, which has been deployed by capitalist corporations to market Zen as a lifestyle product/service. It offers an insight into the process of identification within the framework of orientalism, that is, the way in which the Self and the Other come into being, and offer Gen as a possible solution to the VO/ID expansion.

Sign in / Sign up

Export Citation Format

Share Document