70 research outputs found

    Screen printing: roots and meaning in contemporary culture

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    A serigrafia é uma técnica de impressão que permanece praticamente inalterada desde os seus primórdios, com apenas ligeiras melhorias, e que está a renascer em diversos movimentos na cultura contemporânea. A pesquisa que se segue examina a história, estilos e técnicas da serigrafia, procura as razões pelas quais sobreviveu e porque é ainda utilizada como técnica de impressão até aos dias de hoje. Nesta linha, vários impressores e designers contemporâneos, bem como admiradores da técnica, são entrevistados. A serigrafia é ainda comparada a outros recentes ressurgimentos analógicos e aplicada na prática, sendo documentados todos os processos de aprendizagem e experimentação, e conclui com a sua produção e materialização na forma de um cartaz.Screen-printing is a printmaking technique, which exists in almost original form since ancient times just with a few improvements and is having a revival In contemporary culture. This research examines history, styles, techniques of screen-printing and searches for reasons why it survived and is still used as a printmaking technique until nowadays. Due to find out, a number of contemporary printmakers and screen-printing admirers is interviewed. Afterwards screen-printing is compared to other recent analogue revivals and employed in practice documenting all the learning and experimentation processes and before the conclusion producing a final material result in form of a poster

    A Solution to “The Woman Question”: Envisioning the Japanese Woman in the Bijin-ga of Japan\u27s Modern Print Designers

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    My essay addresses the portrayal of women in early 20th-century Japanese prints. I examine the bijin-ga, or pictures of beautiful women, of Shin-hanga (New Prints) and Sosaku-hanga (Creative Prints) artists, focusing on the after the bath trope. These artists claimed to create woodblock prints that were both Japanese and modern, updating aesthetics and techniques. Their chosen subject matter, however, represents a psychological anchor against the widespread social changes of the Taisho Period (1912-1926) in Japan, during which time new women and modern girls were crafting public roles for women based on political activism and liberated sexuality

    South Carolina Wildlife, March-April 1987

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    The South Carolina Wildlife Magazines are published by the South Carolina Department of Natural Resources who are dedicated to educating citizens on the value, conservation, protection, and restoration of South Carolina's wildlife and natural resources. These magazines showcase the state’s natural resources and outdoor recreation opportunities by including articles and images of conservation, reflections and tales, field notes, recipes, and more. In this issue: Biosphere ; Books ; Readers' Forum ; Natural History: Eastern Wild Turkey ; Events ; Crappie Fever ; Silent Spring Revisited ; Do You Fish Too Much? ; Jewels Of The Night ; A Love Affair With Wood ; Almanacs - Losing An American Heritage ; Pittman-Robertson's Golden Anniversary: A Wildlife Success Story ; Field Trip ; Roundtable ; Ramblings

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    KOKESHI: CONTINUED AND CREATED TRADITIONS(MOTIVATIONS FOR A JAPANESE FOLK ART DOLL)

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    This study will concentrate on the transformative nature of culturally specific folk art objects, and how they are contextualized within narratives of national tradition and regionalism. Utilizing the Japanese wooden folk art doll kokeshi as a vivid example, I will explore how tradition becomes embodied in objects, and in turn how the image of the kokeshi is actively used to define perceived traditional spaces under the umbrella of cultural nationalism and nostalgia. The establishment of folk art categories like kokeshi reflects the deeper dynamics of Japanese nation building, and the role that the TĹŤhoku region (the production area for kokeshi) plays in national cohesiveness. TĹŤhoku and the products within it act as perceived repositories of tradition and self-discovery in what are defined as furusato (hometown) spaces. Those landscapes and objects found within these hometowns become by association traditional and evocative of a past more simple and serene lifestyle. The classification, collection, and creation of works devoted to the perceived regional characteristics of kokeshi will be explored in relation to the larger topic of national cohesion and the formations of traditions

    SEEDS OF AGRIBUSINESS: GRANT WOOD AND THE VISUAL CULTURE OF GRAIN FARMING, 1862-1957

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    This dissertation uses selected works of Grant Wood's art as a touchtone to investigate a broader visual culture surrounding agriculture in America during the late nineteenth and early twentieth centuries. By doing so I argue that Wood engaged with pressing social questions, including the phenomenon now referred to as agribusiness. Although agribusiness is often associated with the Green Revolution of the 1940s and 1950s, its beginning dates to the nineteenth century. Indeed, Wood's lifetime was an era when land was consolidated, production and distribution were vertically integrated, and breeding became scientifically informed. To access the power dynamics of this transition, I begin each chapter with work by Wood, and then analyze it in conjunction with imagery produced by or for individuals with diverse cultural agendas. This wide range of voices includes government officials, members of socialist farm organizations, newspaper publishers, plant breeders, owners of large and small farms, auction house managers, and university educators. To show precedents for and the legacy of Wood's work I begin my analysis of visual culture before his birth and end after his death. The dissertation thus begins in 1862—the year that land in the Midwest began to be parceled out for grain farming as small 160-acre homesteads and gargantuan bonanza farms thousands of acres in size. The dissertation ends in 1957—the year that the term agribusiness was coined by the Harvard-based economists John Davis and Ray Goldberg. I take an interdisciplinary approach anchored most fully within the norms of art history, but also engage with strategies from visual, cultural, and agricultural studies. My argument, ultimately, is that agribusiness is a cornerstone of modern thinking, and that Grant Wood was not only aware of the experiences, debates, institutions, and theories of agribusiness emerging in his midst but engaged with them in his fine art. More broadly, by using a wide range of imagery, including photography, advertising, penmanship, film stills, crops, cartoons, architecture, and diagrams I show that the way Americans came to understand and accept agribusiness as the basis of their food system was negotiated, in part, through visual materials

    Surreal Classicism: Salvador DalĂ­ Illustrates Don Quixote

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    abstract: The purpose of this dissertation is to investigate the materiality of a unique text, Random House and The Illustrated Modern Library’s 1946 Don Quixote, illustrated by Catalonian painter Salvador Dalí. It analyzes Dalí’s classical trajectory, how Dalí and the text were received in mid-twentieth century North America, and how they both fit into the print history of illustrated editions of Don Quixote. Each is revealed to be unique in comparison with the history of the genre due to the publishing house’s utilization of Dalí’s high-quality illustrations in a small-sized text. Lavish illustrations traditionally have been reserved for larger, collectible editions. The contemporary material significance of the 1946 edition is revealed by examining organizations, people, and circumstances that were necessary for its production in the United States, and by contextualizing the text’s reception by North American popular culture, high art echelons, and art critics. The overarching history of illustrated editions of Don Quixote is examined, comparing Dalí and his illustrations with important thematic and methodological benchmarks set by illustrators within this 400-year period, especially regarding renderings of reality and fantasy. Analyses of the first three watercolor illustrations of Dalí’s 1946 Don Quixote reveal how the painter forms mythological imagery and composes the quixotic dichotomy of reality and fantasy through the metaphoric gaze of an inanimate figure representing the protagonist. Dalí at times renders the “real” Don Quixote as incapacitated, omitting from his illustrations universalized iconography utilized in previous centuries achieved by rendering Don Quixote’s perspective, gaze, and heroic interpretation of events. In these three illustrations, Dalí forms Don Quixote as a deflated figure based in burla (mockery) and engaño (self-deception) by negating Don Quixote’s gaze within the compositions, without compromising the painter’s trademark surrealist style. The text therefore challenges the genre’s print history while Dalí challenges French and German Romantic illustrators’ universalized iconography that traditionally highlights the nobility of the knight errant. By focalizing fantastic madness as interacting with burlesque reality, Dalí creates a new episteme within the genre of illustrated editions of Don Quixote, establishing his unique niche as an illustrator in this genre.Dissertation/ThesisDoctoral Dissertation Spanish 201

    Bulletin /

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    v. 41 (1970

    The face of empire: the cultural production of U.S. imperialism in the Panama Canal Zone and California, 1904–1916

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    The U.S. government's construction of the Panama Canal (1904–1914) presented a template for expansive imperialism in Latin America in the twentieth century. After the highly publicized atrocities of the Philippine–American War (1899–1902) and the popular anti-imperialist movement at the turn of the century, imperial boosters required a new strategy. The U.S. government’s Isthmian Canal Commission (ICC) thus sold the Panama Canal project to the American public as a peaceful, beneficent development project rather than a coercive occupation. Imperial boosters continuously reinforced this message from the construction era onward through the cultural production of attractive, reassuring images that profoundly influenced media coverage of the canal project and the resulting public perceptions of U.S. imperialism in the American-run Panama Canal Zone (PCZ). Visually appealing images of canal construction highlighted the technological wonders of its engineering and made the canal a metaphor for the proclaimed superiority of American civilization in the jungle. The PCZ emerged as an unprecedented model for imperial occupation, in that boosters packaged the annexed territory as an Edenic civilian enclave rather than a militarized zone. The cultural production of this publicity, particularly visual images of technology and white settler life in the PCZ, worked to neutralize popular resistance to U.S. imperial expansion in the early twentieth century. The publicity triumph of the PCZ was consolidated by corollary mainland initiatives, the two world’s fairs in California in 1915–1916 commemorating the opening of the Panama Canal. Panama, San Diego, and San Francisco became three points on a circuit of imperial power, bound together inextricably with the opening of the canal. San Diego organized the Panama-California Exposition (PCE) in 1915–1916, and San Francisco staged the Panama-Pacific International Exposition (PPIE) in 1915. These two expositions significantly advanced the publicity efforts of empire boosters, while furthering the imperial aspirations of the two cities. San Diego used its fair to exert control over the U.S. Southwest in an effort to forge an inland empire that would position the city as an imperial hub. The PCE employed scientific racism to justify white supremacy, Indian removal, and imperial expansion, both "at home" in the U.S. West and "abroad" in the PCZ, as imperial boundaries between "the domestic" and "the foreign" blurred. Fair exhibits and publications celebrated hydraulic engineering in both California and Panama as critical to expanding white American settler societies, and justified the dislocation of indigenous peoples in both locations in the name of progress, modernity, and civilization. San Francisco’s imperial boosterism also served local needs, as the city used the PPIE to stage a renaissance from the cataclysmic 1906 earthquake and fire and position itself as an imperial metropole on a global stage, a vital outpost on the Pacific Rim. San Francisco boosters strove to turn the fair into a wider celebration of imperialism in the tradition of Western Civilization. The PPIE claimed the legacy of Imperial Rome and the Greek Empire of city-states, which San Francisco aspired to imitate. The PPIE created a spectacle for millions of fairgoers who were dazzled and spellbound by the architecture, landscaping, sculpture, color design, and the unprecedented lighting shows. Fairgoers were lulled into a state of political quiescence by the fair’s sublime beauty and thus consented to imperialism without critically analyzing it. Visiting the fair became an aesthetic experience, one that fostered acquiescence and discouraged dissent. From Panama in 1904 to California in 1916, promoters made the expanding U.S. empire appear peaceful, consensual, beneficent, and beautiful, a marketing strategy that was difficult to argue with

    The New Star of 1572 and the Ascendancy of the Mathematical over the Causal Epistemology of Natural Philosophy

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    The arrival of the new star of 1572, the first nova recorded in the western canon of natural philosophy startled and challenged the scientific community of the age. As they worked to observe and to understand the nature of this new star, astronomers across Europe quickly discovered that the traditional intellectual tools that they had come to respect and rely upon when observing the heavens were by and large useless in helping them to gather data, and thus to come to conclusions about the star\u27s location, its physical nature and its meaning. In the records that contemporaries have left, modern readers may see how the nova\u27s observers quickly adapted new tools and revised old theories in an effort develop satisfying answers to the questions the nova\u27s arrival forced them to ask. The literary records and physical artifacts of the star\u27s fourteen month long visit also reveal the extent to which natural philosophers had begun to distrust and even to jettison the fundamental tenets of the millennia old epistemologies that had guided their basic beliefs in the ways in which the cosmos was to be understood. In these reports and letters, readers will find technical accounts that will also help them to gauge how far those observers had moved towards the acceptance of an epistemology based upon the values of observation and mathematical analysis. Nova observers of the post Copernican half century, it will be seen, were flexible and independent thinkers, open to new theories and intellectual crosscurrents. They were also active gathers and disseminators of natural knowledge, as well as participants in the continent wide network of scientific investigators; responding to the age\u27s onrush of new information, new technologies and experiences
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