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The ArtsJuly 2024Showing resistance
Propaganda and Modernist exhibitions in Britain, 1933–53
by Harriet Atkinson
This is the first book-length analysis of exhibitions used for propaganda and political interventions in Britain during the two decades from 1933. It analyses how exhibitions were mounted in public places - from station concourses to workers' canteens, empty shops and bombsites - becoming a key tool for public communication. Richly illustrated, the book extends our existing knowledge of the work of a range of prominent artists, architects and designers active in Britain, including Edith Tudor-Hart, Edward McKnight-Kauffer, Paul Nash, F. H. K. Henrion, Misha Black, John Heartfield, Oskar Kokoschka and Erno Goldfinger.
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Humanities & Social SciencesMarch 2017Ephemeral vistas
by Paul Greenhalgh
The international exhibitions held around the world between 1851 and 1939 were spectacular gestures, which briefly held the attention of the world before disappearing into an abrupt oblivion, of the victims of their planned temporality. Known in Britain as Great Exhibitions, in France as Expositions Universelles and in America as World's Fairs, the genre became a self-perpetuating phenomenon, the extraordinary cultural spawn of industry and empire. Thoroughly in the spirit of the first industrial age, the exhibitions illustrated the relation between money and power, and revelled in the belief that the uncontrolled expression of that power was the quintessence of freedom. Philanthropy found its place on exhibition sites functioning as a conscience to the age although even here morality was inextricably linked to economic efficiency and expansion. Imperial achievement was celebrated to the full at international exhibitions. Nevertheless, most World's Fairs maintained an imperial element and out of this blossomed a vibrant racism. Between 1889 and 1914, the exhibitions became a human showcase, when people from all over the world were brought to sites in order to be seen by others for their gratification and education. In essence, the English national profile fabricated in the closing decades of the nineteenth century was derived from the pre-industrial world. The Fine Arts were an important ingredient in any international exhibition of calibre. This book incorporates comparative work on European and American empire-building, with the chronological focus primarily on the nineteenth and twentieth centuries, when these cultural exchanges were most powerfully at work.
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The ArtsOctober 2023
Windows for the world
Nineteenth-century stained glass and the international exhibitions, 1851–1900
by Jasmine Allen
Windows for the world explores the display and reception of nineteenth-century British stained glass in a secular exhibition context. International in scope, the book focuses on the global development of stained glass in this period as showcased at, and influenced by, these exhibitions. It recognises those who made and exhibited stained glass and demonstrates the long-lasting impact of the classification and modes of display at these events. A number of exhibits are illustrated in colour and are analysed in relation to stylistic developments, techniques and material innovations, as well as the broader iconographies of nation and empire in the nineteenth century.
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Humanities & Social SciencesOctober 2015Exhibiting the Empire
Cultures of display and the British Empire
by John McAleer, Andrew Thompson, John M. MacKenzie, John Mackenzie
Exhibiting the empire considers how a whole range of cultural products - from paintings, prints, photographs, panoramas and 'popular' texts to ephemera, newspapers and the press, theatre and music, exhibitions, institutions and architecture - were used to record, celebrate and question the development of the British Empire. It represents a significant and original contribution to our understanding of the relationship between culture and empire. Written by leading scholars from a range of disciplinary backgrounds, individual chapters bring fresh perspectives to the interpretation of media, material culture and display, and their interaction with history. Taken together, this collection suggests that the history of empire needs to be, in part at least, a history of display and of reception. This book will be essential reading for scholars and students interested in British history, the history of empire, art history and the history of museums and collecting. ;
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Humanities & Social SciencesMarch 2017Exhibiting the Empire
Cultures of display and the British Empire
by John McAleer, John M. MacKenzie
Exhibiting the empire considers how a whole range of cultural products - from paintings, prints, photographs, panoramas and 'popular' texts to ephemera, newspapers and the press, theatre and music, exhibitions, institutions and architecture - were used to record, celebrate and question the development of the British Empire. It represents a significant and original contribution to our understanding of the relationship between culture and empire. Written by leading scholars from a range of disciplinary backgrounds, individual chapters bring fresh perspectives to the interpretation of media, material culture and display, and their interaction with history. Taken together, this collection suggests that the history of empire needs to be, in part at least, a history of display and of reception. This book will be essential reading for scholars and students interested in British history, the history of empire, art history and the history of museums and collecting.
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Humanities & Social SciencesJune 2017
Exhibiting the Empire
Cultures of display and the British Empire
by John McAleer, Andrew Thompson, John M. MacKenzie, John M. MacKenzie
Exhibiting the empire considers how a whole range of cultural products - from paintings, prints, photographs, panoramas and 'popular' texts to ephemera, newspapers and the press, theatre and music, exhibitions, institutions and architecture - were used to record, celebrate and question the development of the British Empire. It represents a significant and original contribution to our understanding of the relationship between culture and empire. Written by leading scholars from a range of disciplinary backgrounds, individual chapters bring fresh perspectives to the interpretation of media, material culture and display, and their interaction with history. Taken together, this collection suggests that the history of empire needs to be, in part at least, a history of display and of reception. This book will be essential reading for scholars and students interested in British history, the history of empire, art history and the history of museums and collecting.
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Literature: history & criticismSeptember 2001The Great Exhibition of 1851
by Susan Williams
The Great Exhibition of 1851 has become a touchstone for the nineteenth century. The Crystal Palace produced a commodity world, an imperial spectacle, a picture of capitalism, a liberal dream, a vision of modern life. Historians have saturated the Great Exhibition with meanings. This collection of essays exposes how meaning has been produced around the Great Exhibition. It contains a series of critical readings of the official and popular historical record of the Exhibition. Critics and historians of art, culture, design and literature have been brought together to examine the objects, the images, the documents and the fictions of 1851. Their essays explore the determined use of industrial knowledge, the contested definitions of nation and colony, and the actual control of the space of the Crystal Palace after the Great Exhibition closed. The Great Exhibition of 1851 presents new interpretations of one of the most significant exhibitions in the nineteenth century and will be essential reading for anyone studying cultural history, design history, art history and literature.
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July 2010Auf der Suche nach dem Wunderbaren
Die Lehre des großen Meisters G. I. Gurdjieff
by Ouspensky, Peter D. / Übersetzt von Keyserling, Arnold; Übersetzt von March, Louise
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The ArtsApril 2026The art of decolonisation
Dakar-Paris, 1950-70
by Maureen Murphy
The art of decolonisation examines how artists challenged colonial legacies and reconfigured power through transnational networks of art and diplomacy. Adopting a global and transhistorical perspective, it explores artistic, political, and institutional relations between France and Senegal during decolonisation and the Cold War. From the emergence of a national modern art in Senegal to contested cultural policies and high-profile exhibitions-such as those featuring Picasso and Soulages in Dakar, or contemporary Senegalese art in Paris-this book traces the circulation of artworks, ideas, and influence across borders. It reveals how visual artists and filmmakers shaped a new artistic geopolitics between 1950 and 1970. Reconsidering the accepted chronology of the 'global turn', The art of decolonisation shows that the roots of global art discourse run deeper than the 1990s, and were already forming during the era of independence struggles.
