38,051 research outputs found

    Beauty as Pride: A Function of Agency

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    This is basically a paper about artistic evaluation and how multiple interpretations can give rise to inconsistent and conflicting meanings. Images like Joel-Peter Witkin’s First Casting for Milo (2004) challenge the viewer to look closely, understand the formal properties at work, and then extract a meaning that ultimately asks, Is the model exploited or empowered? Is Karen Duffy, pictured here, vulnerable and “enfreaked” or is she potentially subversive, transgressive, and perhaps self-empowered? I will offer an argument in agreement with artist/author/ performer Ann Millett-Gallant that favors the latter interpretation, but will augment and complicate the issue by also introducing a pointed question or two taken from a recent analysis by Cynthia Freeland on objectification. I judge the works by photographer Joel-Peter Witkin to be representations of disabled persons who are empowered through agency and pride, but I also worry about the risk of multiple, conflicting interpretations on the part of viewers who do not, or cannot, entertain such enlightened readings. Like second wave feminist views about pornography that depicted women in demeaning ways, or feminist critiques of Judy Chicago’s The Dinner Party , Witkin’s photos can be judged as potentially offensive. But they are also objects of beauty—both in terms of aesthetic properties (they are magnificent studies in black and white, shadows, the human body, with many classical references) and because of the feeling of beauty and pride felt by the posers, who become performers of their own beauty and pride. I argue that beauty trumps offensiveness. Pride wins. But I’m not sure that everyone will agree

    Michael Christoforidis, Manuel de Falla and Visions of Spanish Music London/ New York, Routledge, 2018.

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    Sources of Chicano Art: Our Lady of Guadalupe

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    There have been two main streams of influence on Chicano artists aside from the obvious one that is the result of their artistic training, education and development in the United States. The primary influence came from Mexico, first during the colonial period in the form of New Spanish art and architecture, and then in modem times provided by the Mexican muralists through their work and their use of pre-Columbian art. The New Spanish materials formed the nucleus for the second stream of influence composed of the various manifestations of religious folk art found primarily in the Southwest

    Cultural Interactions and Religious Iconography in 16th Century Kerala: the Mural Paintings of St. Mary’s Church in Angamaly

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    St. Mary\u27s Jacobite Syrian Church is an ancient church in Angamaly (Kerala). One account has Syrian Christians arriving in Angamaly in 384 CE and the church being established in 409 CE. Syrian Christians are the earliest Christian community of India, and they attribute their origin to the evangelical efforts of the apostle Saint Thomas who is believed to have travelled through the Malabar country in 52 CE evangelizing and building churches. It was when he moved east that he is supposed to have met his death and (martyrdom) at Mylapore near Madras

    Spreading Acceptance through Performance

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    When Tricia Castañeda-Gonzales ’09 returned to the Linfield stage this year, she brought Latino heritage to life through rhythmic bilingual expression

    Retablo mayor de la iglesia de Santa Ana: análisis químico y biológico

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    (Sevilla) es que nos permite abordíu" un conjunto de técnicas y maiena es muy diversos como son los empleados en el mismo: pintura sobre ta a, escu tura po licromada, altonelieve y arquitectura del retablo. En el presente trabajo se analizaron los materiales constitutivos de las dife rentes partes del retablo: se estudiaron las maderas de las distintas estructuras del retablo asi como las técnicas y materiales pictóricos empleados en las diferentes obras de arte del mismo. También se llevo a cabo el estudio de las causas de biodelerioro que afecta al retablo así como la identificación e os agentes res ponsables

    En torno al proceso de caracterización barroca del retablo toledano del siglo XVII

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    With this work is to put the time in which the toledan altarpiece of mediated of the XVIIth century adopts the typological features and formal of the baroque altarpiece of Madrid, a change than customs the architect Juan Gómez Lobo constituting a well-defined art of which is exponent the altarpiece of Ntra. Sra. de la Esperanza in the church of San Lucas, an example the baroque standardization of the altarpiece in Toledo in the sixties.Con este trabajo se trata de situar el momento en el que el retablo toledano de mediados del siglo XVII adopta las características tipológicas y formales del retablo barroco madrileño, cambio que personaliza el arquitecto Juan Gómez Lobo constituyendo un arte bien definido del que es exponente el retablo de Ntra. Sra. de la Esperanza de la iglesia de San Lucas, ejemplo de la normalización barroca del retablo en Toledo en la década de los sesenta

    Retablo mayor de la iglesia del Hospital de la Caridad. Investigación e intervención

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    A partir de las investigaciones y estudios preliminares recogidos en el proyecto inicial que se realizó en el Instituto Andaluz del Patrimonio Histórico, la restauración del retablo mayor de la iglesia del Hospital de la Santa Caridad de Sevilla corrió a cargo de la Dirección General de Bienes Culturales de la Junta de Andalucía, bajo la tutela del Proyecto de estudio, investigación y propuesta de intervención del retablo mayor de la iglesia de San Jorge del Hospital de la Caridad. La fase de intervención, iniciada en enero de 2006, ha supuesto para este retablo la oportunidad de profundizar en el estudio de su materialidad, mediante los análisis científicos de caracterización de materiales y la actualización de los datos histórico-artísticos y de historia material. Por otra parte, los tratamientos aplicados garantizarán la adecuada conservación de su arquitectura y esculturas en el futuro, contribuyendo de forma significativa a la recuperación de los valores históricos y artísticos de este magnífico retablo

    Un retablo en Boadilla de Rioseco (Palencia) de Santiago Carnicero y Tomás Sierra

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    El ensamblador Santiago Carnicero y el escultor Tomás de Sierra colaboraron en varias obras para la zona de Tierra de Campos entre los años finales del siglo XVII y las primeras décadas del siguiente. En este artículo se da a conocer el retablo de la ermita del Amparo de Boadilla de Rioseco (Palencia) y su proceso constructivo, poniéndolo en relación con algunas otras obras de ambos artistas barrocos.The joiner Santiago Carnicero and the sculptor Tomás de Sierra collaborated in some works in the area of Tierra de Campos between the final years of the XVIIth century and the first decades of the next one. In this article is presented the altarpiece of the Amparo hermitage in Boadilla de Rioseco (Palencia) and its making process, putting it in relation with other Works from both Baroque artists
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