Honores y renuncias: la escultora argentina Lola Mora y la fuente de los debates

Lola Mora (1867-1936) fue la más halagada y discutida escultora argentina de\ud los últimos años del siglo XIX y comienzos del siglo XX. La prensa escrita de Buenos Aires\ud sigue el desarrollo de su carrera artística desde la llegada del viaje de estudios en 1900 y\ud la convierte en protagonista principal monopolizando así la atención de los cronistas. El tema\ud de este trabajo de investigación es una de sus obras más conocidas: la Fuente de las Nereidas\ud o denominada popularmente Fuente de Lola Mora, conjunto escultórico de mármol de Carrara\ud que se inaugura el 21 de mayo de 1903 en el Paseo de Julio. Esta investigación abordará\ud las cuestiones que se debatieron en torno a este conjunto escultórico en relación al\ud emplazamiento original en 1903, que lo transforma en un proceso particular ya que hasta\ud ese momento nunca se habían producido discusiones de tales características en torno a una\ud obra decorativa para la ciudad

To Begin Again : Artists and Childhood

"Artists have long been inspired by children—by their imagination, creativity and unique ways of seeing and being in the world—and have made work that depicts and involves children as collaborators, that represents or mimics their ways of drawing or telling stories, that highlights their unique cultures, and that addresses ideas of innocence and spontaneity closely associated with children. To Begin Again: Artists and Childhood surveys how artists have reflected on and contributed to notions of childhood from the early 20th century to the present. The works in To Begin Again offer distinctive viewpoints and experiences, revealing how time and place, economics and race, and representation and aesthetics fundamentally shape how we experience and understand early development. The catalog underscores that while there is no single, uniform idea of childhood, it is nevertheless the ground upon which so much of society is built, negotiated and imagined." -- Distributor's websit

Berthe Morisot

Of the six Impressionist painters whose first exhibition scandalized and fascinated Paris in 1874, Berthe Morisot was the only woman. She reached a pinnacle of artistic achievement despite the restraints society placed on her sex, adroitly combining her artistic ambitions with a rewarding family life. Anne Higonnet brings fully to life an accomplished artist and her world

Museum Culture : Histories, Discourses, Spectacles

Drawing from the history of museums in Western Europe, Israel, the United States and the former Soviet Union, this collection of essays focuses on the governing ideologies behind the practices and strategies of display in institutions shown to be equally guided by historical structures and narratives. As the editors note, common themes and insights link the essays within and across their division into three separate sections: Histories, Discourses, and Spectacles. Index, 15 p. Biographical notes on contributors. Circa 500 bibl. ref

Global concerns, local negotiations and moral selves: contemporary parenting and the ‘sexualisation of childhood’ debate

Parents are contradictorily positioned within the ‘sexualisation of childhood’ debate. On the one hand, they (‘we’) are assumed to share a universal ‘concern’ about it and are urged to ‘challenge’ it through campaigning, refusing to buy inappropriate products, talking with children about ‘media messages’ and so on. On the other hand, parents – often specifically ‘mothers’ – are also held responsible for sexualisation through their irresponsible consumption. This article draws on qualitative research with parent groups to suggest that sexualisation may be a less pressing issue for parents than is often claimed: because they tend not to perceive their own children as ‘sexualised’, do not accept that goods are inherently sexualized, and subscribe to ideas about child development and ‘good parenting’ that involve letting children make decisions about such goods on their own behalf. Thus, even where parents articulate general concerns about the issue, within their own families they may opt for negotiation, compromise and subterfuge rather than overt challenge. Regardless of this, however, parents are increasingly compelled to respond to the issue, and thereby to engage in practices of ethical self-formation and individual responsibility-taking. Whilst these practices have a longer history than the sexualisation debate itself, they are framed or shaped in particular ways by it. The article indicates some problematic areas that emerged in the course of discussions with parents, such as: (self-)surveillance and critical judgement of ‘other’ girls and mothers; the obscuring of constraints on individual choice in ways that naturalise social inequalities; and the convergence of sexualisation discourse with older discourses that make women responsible for male sexual violence