scholarly journals Da arqueologia à arquitetura: história e memória gay a partir da série “Hollywood”

2021 ◽  
Vol 16 (28) ◽  
pp. 312
Author(s):  
Marcio Da Silva Granez
Keyword(s):  
Work Of Art ◽  
History And Memory ◽  
History Of ◽  
Gay Culture ◽  
Architecture History

O artigo aborda a história e a memória das pessoas gays a partir da série “Hollywood” (2020). De cunho hermenêutico, a interpretação do objeto de análise parte da reflexão sobre comunicação, temporalidades, história, sonhos e sua relação com a obra de arte. Para tanto, interroga a cronologia dos fatos ligados à história da homossexualidade e sua relação com o imaginário gay, considerando o parâmetro temporal e o estético, para compreender a narrativa em sua dimensão factual e fictícia, amparando-se nas contribuições de Foucault (2007), Freud (2006) e Latour (2019). Como resultado, ressalta a temporalidade diferenciada da obra de arte e sua contribuição para a construção identitária dos gays.From archeology to architecture: history and gay memory from the “Hollywood” seriesAbstractThe article addresses the history and memory of gay people from the series “Hollywood” (2020). With a hermeneutic nature, the interpretation of the object of analysis starts from the reflection on communication, temporalities, history, dreams and their relationship with the work of art. Therefore, it interrogates the chronology of facts related to the history of homosexuality and its relationship with the gay imagination, considering the temporal and aesthetic parameters, in order to understand the narrative in its factual and fictional dimension, based on the contributions of Foucault (2007), Freud (2006) and Latour (2019). As a result, it highlights the differentiated temporality of the work of art and its contribution to the construction of gay identity.Keywords: Gay culture; memory; history; time; “Hollywood” series.

Conditions of Visibility

2019 ◽  
Keyword(s):  
Art History ◽  
Visual Art ◽  
Fundamental Question ◽  
Ancient World ◽  
Work Of Art ◽  
History Of Art ◽  
Shared Objects ◽  
History Of ◽  
Modern Prejudice ◽  
Historical Past

We often assume that works of visual art are meant to be seen. Yet that assumption may be a modern prejudice. The ancient world - from China to Greece, Rome to Mexico - provides many examples of statues, paintings, and other images that were not intended to be visible. Instead of being displayed, they were hidden, buried, or otherwise obscured. In this third volume in the Visual Conversations in Art & Archaeology series, leading scholars working at the intersection of archaeology and the history of art address the fundamental question of art's visibility. What conditions must be met, what has to be in place, for a work of art to be seen at all? The answer is both historical and methodological; it concerns ancient societies and modern disciplines, and encompasses material circumstances, perceptual capacities, technologies of visualization, protocols of classification, and a great deal more. The emerging field of archaeological art history is uniquely suited to address such questions. Intrinsically comparative, this approach cuts across traditional ethnic, religious, and chronological categories to confront the academic present with the historical past. The goal is to produce a new art history that is at once cosmopolitan in method and global in scope, and in doing so establish new ways of seeing - new conditions of visibility - for shared objects of study.

C. H. B. Quennell (1872–1935): Architecture, History and the Quest for the Modern

2007 ◽  
Vol 50 ◽  
pp. 211-246
Author(s):  
Elizabeth McKellar
Keyword(s):  
Twentieth Century ◽  
Modern World ◽  
Strong Interest ◽  
History Of ◽  
British Architecture ◽  
Building Conservation ◽  
Architecture History

Charles Quennell embodied many of the possibilities and contradictions of British architecture in the first decades of the twentieth century. He is a little-known figure today, but one who deserves further consideration, not only for his own remarkably interesting and varied career but also because of the light he sheds on some of the less explored aspects of architecture in the 1895–1935 period. Throughout his life he combined a strong interest in history with a search for efficiency and design appropriate for the modern world. Both of these preoccupations were widespread among his generation although, apart from a few notable exceptions, rarely can they be found combined to as great a degree as in Quennell. For example, in 1914 he was a keen exponent of standardization and at work on large romantic houses in Hampstead Garden Suburb. By 1918 he had designed what have been called the first modern houses in the country and had just published the first of the bestselling books in the series co-authored with his wife, A History of Everyday Things in England. In 1930 he was writing a contemporary tract The Good New Days and he built a neo-Palladian villa. He has been little studied to date, the main accounts being Alastair Service’s of his work in Hampstead, a Masters thesis by Nick Collins focused on issues of building conservation, and Graham Thurgood’s article on his 1920s work in Essex.

The Mausoleum of Youth: Between Experience and Nihilism in Benjamin's Berlin Childhood

Paragraph ◽  
2009 ◽  
Vol 32 (3) ◽  
pp. 313-330 ◽  
Author(s):  
Michael W. Jennings
Keyword(s):  
Human Experience ◽  
The Moon ◽  
History Of Photography ◽  
Work Of Art ◽  
Modern Media ◽  
Siegfried Kracauer ◽  
History Of ◽  
The Relationship

Key sections of Walter Benjamin's montage-text Berlin Childhood around 1900 figure the relationship between human experience and modern media, with the sections that frame the text, ‘Loggias’ and ‘The Moon’, structured around metaphors of photography. Drawing on the work of Siegfried Kracauer, and especially his seminal essay ‘Photography’, Benjamin develops, in the course of his book, a theory of photography's relationship to experience that runs counter to the better-known theories developed in such essays as ‘Little History of Photography’ and ‘The Work of Art in the Age of its Technological Reproducibility’, theories that are part of the broad currents of technological utopianism and, as such, emphasize photography's transformative potentials. In the Berlin Childhood, Benjamin instead emphasizes photography's role in the mortification and annihilation of meaningful human experience. Photography emerges here as the mausoleum of youth and hope.

9/11 as Avant-Garde Art?

PMLA ◽  
2009 ◽  
Vol 124 (5) ◽  
pp. 1820-1829 ◽  
Author(s):  
Richard Schechner
Keyword(s):  
Performance Art ◽  
Small Extent ◽  
First Century ◽  
Political Systems ◽  
Work Of Art ◽  
Karlheinz Stockhausen ◽  
Social Morality ◽  
Avant Garde ◽  
Single Moment ◽  
History Of

[The attacks of 9/11 were] the greatest work of art imaginable for the whole cosmos. Minds achieving something in an act that we couldn't even dream of in music, people rehearsing like mad for 10 years, preparing fanatically for a concert, and then dying, just imagine what happened there. You have people who are that focused on a performance and then 5,000 [sic] people are dispatched to the afterlife, in a single moment. I couldn't do that. By comparison, we composers are nothing. Artists, too, sometimes try to go beyond the limits of what is feasible and conceivable, so that we wake up, so that we open ourselves to another world. … It's a crime because those involved didn't consent. They didn't come to the “concert.” That's obvious. And no one announced that they risked losing their lives. What happened in spiritual terms, the leap out of security, out of what is usually taken for granted, out of life, that sometimes happens to a small extent in art, too, otherwise art is nothing.—Karlheinz Stockhausen (“Documentation”)Stockhausen aside, how can anyone call the 9/11 attack on the Twin Towers a work of art? Of what value is such a designation? What does calling the destruction of the Twin Towers a work of art assert about (performance) art, the authenticity of “what really happened,” and social morality during and after the first decade of the twenty-first century? To even begin to address these questions, I need to refer to the history of the avant-garde—because it has been avant-garde artists who for more than a century have called for the violent destruction of existing aesthetic, social, and political systems.

scholarly journals Tempo Digital: Quando a escola invade o smartphone

2020 ◽  
pp. 62-67
Author(s):  
Maria Luísa Luís Duarte
Keyword(s):  
Young People ◽  
Creative Process ◽  
Electronic Devices ◽  
School Context ◽  
Digital Natives ◽  
Work Of Art ◽  
History Of ◽  
Current Context ◽  
History Of Culture ◽  
Object Of Study

This article derives from the master’s research in which it seeks to understand what uses the teenagers of this generation, known as millennials (or digital natives), are giving to their smartphones in a given Portuguese school context. Bearing in mind that our young people (as well as adults) spend a large part of their time “clinging” to small electronic devices, the present investigation looks at this problem as an opportunity to produce artistic content through a didactic use. At the same time, it helps young “producer / consumer” students to recognize themselves in the production of subjectivity inherent in certain work proposals carried out within the scope of the History of Culture and Arts. Starting from the concepts inherent to the disciplines of Artistic Education and the selection and study of a work of art, and having self-representation as the object of study, the student (re) creates (the work selected by himself) through the use of the smartphone, mobilizing skills transversal (technical, aesthetic and methodological) in a process that wants to be creative. In the creative process several aspects are contemplated that can, and should, be deepened, namely the question of time. The time we live in is an unexpected time! Time of seclusion, distance, confinement! We seek to ask whether the current context of confinement can provide an opportunity to reflect on the didactic use of the smartphone to produce artistic content while maintaining the principles of equality and equity.

The Red Crag Shell Portrait: a Comment on the Report of the Committee

1914 ◽  
Vol 1 (4) ◽  
pp. 446-449
Author(s):  
Miller Christy
Keyword(s):  
British Association ◽  
Work Of Art ◽  
Long Period ◽  
Points Of Interest ◽  
History Of

I have read with much interest the Report of the Committee appointed on 12th February, 1913, to examine such evidence as exists bearing upon the question whether the shell from the Red Crag of Walton-on-the-Naze (a single valve of Pectunculus glycimeris which belonged to the late Mr Henry Stopes, and has rude human features engraved upon it) is a genuine work of art of the Crag or pre-Crag period or a modern fabrication; and I desire to offer a few remarks thereon.I may say at the outset that I have been familiar with this very puzzling shell for a long period; for I was present, on the 6th September, 1881, in the Anthropological Section of the British Association, during its Jubilee Meeting at York, when Mr. Stopes exhibited the shell and read an account of its known history. As to the Walton Cliffs and the Red Crag sections appearing therein, I knew them well years before.The Committee has not only examined minutely and discussed fully in its Report the shell itself, the amount of staining it presents, the manner of the cutting of the lines incised upon it, the amount of sand lodged in them, and other points of interest which it presents, but has also enquired exhaustively into the history of the discovery of the shell, so far as this can now be ascertained. It has done all this with an amount of care and thoroughness which deserves high praise.

Reviews: History and Memory, Historiography: An Introduction, Theories of Reading: Books, Bodies, and Bibliomania, Biography, a Brief History, Shakespeare and the Rise of the Editor., Brave Community. The Digger Movement in the English Revolution, Bloody Romanticism: Spectacular Violence and the Politics of Representation, 1776–1832, the Feminization of Fame 1750–1850, the Collected Letters of Harriet Martineau, Master and Servant. Love and Labour in the English Industrial Age, William Faulkner: An Economy of Complex Words, Upward Mobility and the Common Good: Toward a Literary History of the Welfare State, Literary Modernity between the Middle East and Europe, Textual Transactions in Nineteenth-Century Arabic, English, and Persian Literatures., African Pasts: Memory and History in African Literatures, the Little MagazineCubittGeoffrey, History and memory, Manchester University Press, 2007, pp. viii + 272, pb. £12.99.RogerSpalding and ParkerChristopher, Historiography: An Introduction , Manchester University Press, 2007, pp. 156, pb. £9.99.KarinLittau, Theories of Reading: Books, Bodies, and Bibliomania , Polity Press, 2006, pp. xi + 194, £55, pb. £17.99.NigelHamilton, Biography, A Brief History , Harvard University Press, 2007, pp. 345, pb. £14.95.SoniaMassai, Shakespeare and the Rise of the Editor. Cambridge University Press, 2007. pp. xii + 254, £63.JohnGurney, Brave Community. The Digger Movement in the English Revolution , Manchester University Press, 2007, pp. xiii + 236, £55.IanHaywood, Bloody Romanticism: Spectacular Violence and the Politics of Representation, 1776–1832 , Palgrave Macmillan, 2006, pp. xi + 270, £50ClaireBrock, The Feminization of Fame 1750–1850 , Palgrave/Macmillan2006, pp. ix + 242, £45.DeborahLogan (ed.), The Collected Letters of Harriet Martineau , Pickering and Chatto, 2007, 5 vols: pp. xxxii + 356, viii + 345, viii + 392, viii + 376, viii + 501. $750.00CarolynSteedman, Master and Servant. Love and Labour in the English Industrial Age , Cambridge University Press, 2007, pp. xi + 263, £45, £17.99;LightAlison, Mrs Woolf and the Servants. The Hidden Heart of Domestic Service , Penguin/Fig Tree, 2007, pp. xxiii + 376, £20.RichardGodden, William Faulkner: An Economy of Complex Words , Princeton University Press, 2007. pp. x + 251, $39.50.BruceRobbins, Upward Mobility and the Common Good: Toward a Literary History of the Welfare State , Princeton University Press, 2006, pp. xviii + 328, $35KamranRastegar, Literary Modernity between the Middle East and Europe, Textual transactions in nineteenth-century Arabic, English, and Persian literatures. Routledge, 2007. pp. xv+176. £70.00.TimWoods, African Pasts: Memory and History in African Literatures , Manchester University Press, 2007, pp. xii + 291, £55.SuzanneW. Churchill, The Little Magazine Others and the Renovation of Modern American Poetry , Ashgate, 2006, pp. xii + 290, £55.

2008 ◽  
Vol 17 (2) ◽  
pp. 82-101
Author(s):  
Matthew Neufeld ◽  
Sean Greenwood ◽  
Gary Farnell ◽  
Peter Clark ◽  
Mark Bayer ◽  
...  
Keyword(s):  
Literary History ◽  
Common Good ◽  
History And Memory ◽  
Harriet Martineau ◽  
English Revolution ◽  
Princeton University ◽  
Industrial Age ◽  
History Of ◽  
Theories Of Reading ◽  
Complex Words

Epilogue

2021 ◽  
Author(s):  
Patricia Emison
Keyword(s):  
Sound Recording ◽  
Work Of Art ◽  
History Of Art ◽  
History Of ◽  
Changing Role

The span of this book is roughly that of directors who had started out in silent pictures reaching the end of their careers, including their transitions to color. The introduction of sound recording and color both transformed filmmaking, not least its cost. Misgivings were voiced early on about the moral effect of the new art, even as censorship was deplored. Mannerism as an art-historical concept was being developed to supplement that of Renaissance naturalism even as filmmakers were trying to reconcile the realism to which photography might seem suited with the artificiality it also enabled. Although studying the history of film inevitably dredges up evidence of racism, sexism, and other prejudices, the history of film, like the history of art, is too complex and has long been too deeply engrained in our cultural lives for historians to choose to be ignorant of once admired works we may now in part or thoroughly deplore, as well as minor yet elucidating works that may likewise be problematic, at least in part. The supposition that respect is the default response to any work of art underestimates the changing role of laughter and other forms of active disregard, particularly during the last century.

Boulez, Pierre (1925-2016)

2018 ◽  
Author(s):  
Jonathan Goldman
Keyword(s):  
Twentieth Century ◽  
Personal Development ◽  
Work Of Art ◽  
Going Public ◽  
Concert Music ◽  
Avant Garde ◽  
Central Concern ◽  
Pierre Boulez ◽  
History Of ◽  
Listening Habits

French composer Pierre Boulez was one of the most influential composers of the second half of the twentieth century. His personal development mirrored the history of Western concert music. An essential figure in the history of artistic modernism, he was perceived as a leader of the musical avant-garde since 1945. In addition, through his international career as a conductor, he sought to change the listening habits of the concert-going public by initiating them, through concerts and recordings, into the classics of modernism from the first half of the twentieth century (Stravinsky, Schoenberg, Webern, Bartók, Berg, etc.). From serialism, open forms, the interface between instrument and machine, the concern with perceptibility, Boulez’s catalog forms a rich and varied corpus. Although Boulez dispensed with total serialism after a brief but decisive period, his concern with the formal unity of a work of art remained a central concern throughout his career.

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