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From the time the word kul'tura entered the Russian language in the early nineteenth century, Russian arts and letters have thrived on controversy. At any given time several versions of culture have coexisted in the Russian public sphere. The question of what makes something or someone distinctly Russian was at the core of cultural debates in nineteenth-century Russia and continues to preoccupy Russian society to the present day. When Art Makes News examines the development of a public discourse on national self-representation in nineteenth-century Russia, as it was styled by the visual arts and popular journalism. Katia Dianina tells the story of the missing link between high art and public culture, revealing that art became the talk of the nation in the second half of the nineteenth century in the pages of mass-circulation press. At the heart of Dianina's study is a paradox: how did culture become the national idea in a country where few were educated enough to appreciate it? Dianina questions the traditional assumptions that culture in tsarist Russia was built primarily from the top down and classical literature alone was responsible for imagining the national community. When Art Makes News will appeal to all those interested in Russian culture, as well as scholars and students in museum and exhibition studies.
From the time the word kul'tura entered the Russian language in the early nineteenth century, Russian arts and letters have thrived on controversy. At any given time several versions of culture have coexisted in the Russian public sphere. The question of what makes something or someone distinctly Russian was at the core of cultural debates in nineteenth-century Russia and continues to preoccupy Russian society to the present day. When Art Makes News examines the development of a public discourse on national self-representation in nineteenth-century Russia, as it was styled by the visual arts and popular journalism. Katia Dianina tells the story of the missing link between high art and public culture, revealing that art became the talk of the nation in the second half of the nineteenth century in the pages of mass-circulation press
Long before Harlem became one of the trendiest neighbourhoods in the red-hot property market of Manhattan, it was a metaphor for African American culture at its richest. This is the classic record of Harlem life during some of the most exciting and turbulent years of its history, a beautiful - and poignant - reminder of a powerful moment in African American history. Includes the work of some of Harlem's most treasured photographers, extraordinary images are juxtaposed with articles recording the daily life of one of New York's most memorialised neighbourhoods.
Introduction : marking time -- What is slow art? (when images swell into events and events condense into images) -- Living pictures -- Before slow art -- Slow art emerges in modernity I : secularization from Diderot to Wilde -- Slow art emerges in modernity II : the great age of speed -- Slow fiction, film, video, performance, 1960 to 2010 -- Slow photography, painting, installation art, sculpture, 1960 to 2010 -- Angel and devil of slow art
Media attention can play a profound role in whether or not officials act on a policy issue, but how policy issues make the news in the first place has remained a puzzle. Why do some issues go viral and then just as quickly fall off the radar? How is it that the media can sustain public interest for months in a complex story like negotiations over Obamacare while ignoring other important issues in favor of stories on “balloon boy?” With Making the News, Amber Boydstun offers an eye-opening look at the explosive patterns of media attention that determine which issues are brought before the public. At the heart of her argument is the observation that the media have two modes: an “alarm mode” for breaking stories and a “patrol mode” for covering them in greater depth. While institutional incentives often initiate alarm mode around a story, they also propel news outlets into the watchdog-like patrol mode around its policy implications until the next big news item breaks. What results from this pattern of fixation followed by rapid change is skewed coverage of policy issues, with a few receiving the majority of media attention while others receive none at all. Boydstun documents this systemic explosiveness and skew through analysis of media coverage across policy issues, including in-depth looks at the waxing and waning of coverage around two issues: capital punishment and the “war on terror.” Making the News shows how the seemingly unpredictable day-to-day decisions of the newsroom produce distinct patterns of operation with implications—good and bad—for national politics.
"This is criticism at its best." —Carolyn Kellogg, Los Angeles Times Writing in the tradition of Susan Sontag and Elaine Scarry, Maggie Nelson has emerged as one of our foremost cultural critics with this landmark work about representations of cruelty and violence in art. From Sylvia Plath’s poetry to Francis Bacon’s paintings, from the Saw franchise to Yoko Ono’s performance art, Nelson’s nuanced exploration across the artistic landscape ultimately offers a model of how one might balance strong ethical convictions with an equally strong appreciation for work that tests the limits of taste, taboo, and permissibility.