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Contrary to critics who have called it the “undecade,” the 1970s were a time of risky, innovative art—and nowhere more so than in Britain, where the forces of feminism and labor politics merged in a radical new aesthetic. In Art Labor, Sex Politics Siona Wilson investigates the charged relationship of sex and labor politics as it played out in the making of feminist art in 1970s Britain. Her sustained exploration of works of experimental film, installation, performance, and photography maps the intersection of feminist and leftist projects in the artistic practices of this heady period. Collective practice, grassroots activism, and iconoclastic challenges to society’s sexual norms are all fundamental elements of this theoretically informed history. The book provides fresh assessments of key feminist figures and introduces readers to less widely known artists such as Jo Spence and controversial groups like COUM Transmissions. Wilson’s interpretations of two of the best-known (and infamous) exhibitions of feminist art—Mary Kelly’s Post-Partum Document and COUM Transmissions’ Prostitution—supply a historical context that reveals these works anew. Together these analyses demonstrate that feminist attention to sexual difference, sex, and psychic formation reconfigures received categories of labor and politics. How—and how much—do sexual politics transform our approach to aesthetic debates? What effect do the tropes of sexual difference and labor have on the very conception of the political within cultural practice? These are the questions that animate Art Labor, Sex Politics as it illuminates an intense and influential decade of intellectual and artistic experimentation.
We are taught to believe in originals. In art and architecture in particular, original objects vouch for authenticity, value, and truth, and require our protection and preservation. The nineteenth century, however, saw this issue differently. In a culture of reproduction, plaster casts of building fragments and architectural features were sold throughout Europe and America and proudly displayed in leading museums. The first comprehensive history of these full-scale replicas, Plaster Monuments examines how they were produced, marketed, sold, and displayed, and how their significance can be understood today. Plaster Monuments unsettles conventional thinking about copies and originals. As Mari Lending shows, the casts were used to restore wholeness to buildings that in reality lay in ruin, or to isolate specific features of monuments to illustrate what was typical of a particular building, style, or era. Arranged in galleries and published in exhibition catalogues, these often enormous objects were staged to suggest the sweep of history, synthesizing structures from vastly different regions and time periods into coherent narratives. While architectural plaster casts fell out of fashion after World War I, Lending brings the story into the twentieth century, showing how Paul Rudolph incorporated historical casts into the design for the Yale Art and Architecture building, completed in 1963. Drawing from a broad archive of models, exhibitions, catalogues, and writings from architects, explorers, archaeologists, curators, novelists, and artists, Plaster Monuments tells the fascinating story of a premodernist aesthetic and presents a new way of thinking about history’s artifacts.
The Art of Mary Linwood is the first book on Leicester textile artist Mary Linwood (1755-1845) and catalogue of her work. When British textile artist and gallery owner Mary Linwood died in 1845 just shy of 90 years old, her estate was worth the equivalent of £5,199,822 in today's currency. As someone who made, but did not sell, embroidered replicas of famous artworks after artists such as Gainsborough, Reynolds, Stubbs, and Morland, how did she accumulate so much money? A pioneering woman in the male-dominated art world of late Georgian Britain, Linwood established her own London gallery in 1798 that featured copies of well-known paintings by these popular artists. Featuring props and specially designed rooms for her replicas, she ensured that her visitors had an entertaining, educational, and kinetic tour, similar to what Madame Tussaud would do one generation later. The gallery's focus on picturesque painters provided her London visitors with an idyllic imaginary journey through the countryside. Its emphasis on quintessentially British artists provided a unifying focus for a country that had recently emerged from the threat of Napoleonic invasion. This book brings to the fore Linwood's gallery guides and previously unpublished letters to her contemporaries, such as Birmingham inventor Matthew Boulton and Queen Charlotte. It also includes the first and only catalogue of Linwood's extant and destroyed works. By examining Linwood's replicas and their accompanying objects through the lens of material culture, the book provides a much-needed contribution to the scholarship on women and cultural agency in the early 19th century.
This project is made possible through support from the Terra Foundation for American Art. When Elizabeth Cady Stanton penned the Declaration of Sentiments for the first women’s rights convention, held in Seneca Falls, New York, in 1848, she unleashed a powerful force in American society. In A Sisterhood of Sculptors, Melissa Dabakis outlines the conditions under which a group of American women artists adopted this egalitarian view of society and negotiated the gendered terrain of artistic production at home and abroad. Between 1850 and 1876, a community of talented women sought creative refuge in Rome and developed successful professional careers as sculptors. Some of these women have become well known in art-historical circles: Harriet Hosmer, Edmonia Lewis, Anne Whitney, and Vinnie Ream. The reputations of others have remained, until now, buried in the historical record: Emma Stebbins, Margaret Foley, Sarah Fisher Ames, and Louisa Lander. At midcentury, they were among the first women artists to attain professional stature in the American art world while achieving international fame in Rome, London, and other cosmopolitan European cities. In their invention of modern womanhood, they served as models for a younger generation of women who adopted artistic careers in unprecedented numbers in the years following the Civil War. At its core, A Sisterhood of Sculptors is concerned with the gendered nature of creativity and expatriation. Taking guidance from feminist theory, cultural geography, and expatriate and postcolonial studies, Dabakis provides a detailed investigation of the historical phenomenon of women’s artistic lives in Rome in the mid-nineteenth century. As an interdisciplinary examination of femininity and creativity, it provides models for viewing and interpreting nineteenth-century sculpture and for analyzing the gendered status of the artistic profession.
Redressing the neglect of World War I memorials in art history scholarship, this volume shows why sculptures of 'doughboys' (US soldiers during World War I) were in such demand during the 1920s, and how their functions and meanings have evolved. Jennifer Wingate recovers and interprets the circumstances of the doughboy sculptures' creation, and offers a new perspective on the complex culture of interwar America and on present-day commemorative practices.
The Concise Dictionary of Women Artists provides an alternative history of Western art from the Middle Ages to the present day. In 200 entries it examines the lives, working conditions, and most of all, the work of a remarkable group of artists.
Discipline and Desire examines how surveillance technologies, when placed within the frames of theater and performance, can be used to critique and reimagine the politics of surveillance in everyday life. The book explores how rapidly proliferating surveillance technologies, including drones, CCTV cameras, GPS tracking systems, medical surveillance equipment, and facial recognition software, can be repurposed through performance to become technologies of ethical witnessing, critique, and action. While the subject of surveillance continues to provoke fascination and debate in mainstream media and academia, opportunities to critically reflect upon and, more importantly, to imagine alternative, creative responses to living in a rapidly expanding surveillance society have been harder to find. Author Elise Morrison argues that such opportunities are being created through the growing genre of “surveillance art and performance,” defined as works that centrally employ technologies and techniques of surveillance to create theater, installation, and performance art. Introducing readers to a broad range of surveillance art works, including the work of artists and activists such as Surveillance Camera Players, Jill Magid, Steve Mann, Hasan Elahi, Wafaa Bilal, Blast Theory, Electronic Disturbance Theater, George Brant, Janet Cardiff, Mona Hatoum, and Zach Blas, Discipline and Desire provides a practical and analytical framework that can aid the diverse pursuits of new media-arts practitioners, performance scholars, activists, and hobbyists interested in critical and creative uses of surveillance technologies.