Interweaving notions of identity and subjectivity, spatial contexts, materiality and meaning, this collection makes a significant contribution to debates around the status and interpretation of visual and material culture. Material Cultures, 1740-1920 has four primary theoretical and historiographic lines of inquiry. The first is how concepts of otherness and difference inform, imbricate, and impose themselves on identity and the modes of acquisition as well as the objects themselves. The second concern explores the intricacies of how objects and their subjects negotiate and represent spatial narratives. The third thread attempts to unravel the ideological underpinnings of collections of individuals which inevitably and invariably rub up against the social, the institutional, and the political. Finally, at the heart of Material Cultures, 1740-1920 is an intervention moving beyond the disciplinary ethos of material culture to argue more firmly for the aesthetic, visual, and semiotic potency inseparable from any understanding of material objects integral to the lives of their collecting subjects. The collection argues that objects are semiotic conduits or signs of meanings, pleasures, and desires that are deeply subjective; more often than not, they reveal racial, gendered, and sexual identities. As the volume demonstrates through its various case studies, material and visual cultures are not as separate as our current disciplinary ethos would lead us to believe.
Blue Book of Art Values: Artists & Their Works from Around the World
Peter Jennings and Todd Brewster, The Century (New York: Doubleday, 1998), 154. 8. Time-Life Editors, This Fabulous Century, Vol. IV, 23. 9.
Offers a selection of eighty-seven full-color reproductions of Timberlake's paintings, with an introduction by the painter
THE FERRELL BROTHERS, WILBUR AND WARREN , in their own words "were not known as singular artists but a duo." Wilbur began his career as a motion picture ...
Adelson, Warren, “John Singer Sargent and the 'New Painting,'” in Stanley Olson, Warren Adelson, and Richard Ormond, Sargent at Broadway: The Impressionist ...
This is a rich undiscovered history—a history replete with competing art departments, dynastic scenic families, and origins stretching back to the films of Méliès, Edison, Sennett, Chaplin, and Fairbanks.
Through careful research, Carol Gibson-Wood exposes the mythology surrounding the Morellian method, especially the mythology of the coherence and primacy of his method of attribution. She argues that it “could also be said that Berenson ...
Gibson translates from the Phoenician: “Beware! Behold, there is disaster for you ... !” (SSI 3, no. 5=KAI nr. 2). Examples from Cyprus include SSI 3, no. 12=KAI nr. 30. Gibson's translation of the Phoenician reads (SSI 3, ...
Examines the emergence of abstract organic forms and their assimilation into the popular arts and culture of American life from 1940-1960, covering advertising, decorative arts, commercial design, and the fine arts.
... S. Newman ACCOUNTING Christopher Nobes ADAM SMITH Christopher J. Berry ADOLESCENCE Peter K. Smith ADVERTISING ... ALGEBRA Peter M. Higgins AMERICAN CULTURAL HISTORY Eric Avila AMERICAN HISTORY Paul S. Boyer AMERICAN IMMIGRATION ...