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This study examines not only the objects and processes that make up the artworlds of human history, but also the social and cultural circumstances, the historicised contexts that bring about their making, frame their functioning, inform their properties and influence their effects, both at the time of their creation and throughout their subsequent biographies. In the short span that “art” has played a part in human life, one may conceive of time as a social river, with a strong current towards the capricious mainstream, and eddies and quiet pools near the banks. The current will flow faster in spate and slower in drought. But it will be forever in motion. It will be unpredictable. Nothing will stop its inexorable force. Art runs in that social river, subject to the flow and chance of time.
Offering a conceptual framework for teaching the visual arts (K-12 and higher education) from a cultural standpoint, the author discusses visual culture in a democracy.
By treading the common ground between the arts, humanities and social sciences, The Art of Social Critiqueraises important questions about the role of art in society, and posits art as a qualitative form of social inquiry. The authors cover a range of artists whose methods of "seeing" social life -- observing, analyzing and portraying society -- draw on the sociological, psychological, historical, and political imagination.
“A lively survey…her research and insights make us conscious of how we, today, use books.”—John Sutherland, The New York Times Book Review Two centuries before the advent of radio, television, and motion pictures, books were a cherished form of popular entertainment and an integral component of domestic social life. In this fascinating and vivid history, Abigail Williams explores the ways in which shared reading shaped the lives and literary culture of the eighteenth century, offering new perspectives on how books have been used by their readers, and the part they have played in middle-class homes and families. Drawing on marginalia, letters and diaries, library catalogues, elocution manuals, subscription lists, and more, Williams offers fresh and fascinating insights into reading, performance, and the history of middle-class home life. “Williams’s charming pageant of anecdotes…conjures a world strikingly different from our own but surprisingly similar in many ways, a time when reading was on the rise and whole worlds sprang up around it.”—TheWashington Post
Spirits can be haunters, informants, possessors, and transformers of the living, but more than anything anthropologists have understood them as representations of something else—symbols that articulate facets of human experience in much the same way works of art do. The Social Life of Spirits challenges this notion. By stripping symbolism from the way we think about the spirit world, the contributors of this book uncover a livelier, more diverse environment of entities—with their own histories, motivations, and social interactions—providing a new understanding of spirits not as symbols, but as agents. The contributors tour the spiritual globe—the globe of nonthings—in essays on topics ranging from the Holy Ghost in southern Africa to spirits of the “people of the streets” in Rio de Janeiro to dragons and magic in Britain. Avoiding a reliance on religion and belief systems to explain the significance of spirits, they reimagine spirits in a rich network of social trajectories, ultimately arguing for a new ontological ground upon which to examine the intangible world and its interactions with the tangible one.
This interdisciplinary book explores the role of art in placemaking in urban environments, analysing how artists and communities use arts to improve their quality of life. It explores the concept of social practice placemaking, where artists and community members are seen as equal experts in the process. Drawing on examples of local level projects from the USA and Europe, the book explores the impact of these projects on the people involved, on their relationship to the place around them, and on city policy and planning practice. Case studies include Art Tunnel Smithfield, Dublin, an outdoor art gallery and community space in an impoverished area of the city; The Drawing Shed, London, a contemporary arts practice operating in housing estates and parks in Walthamstow; and Big Car, Indianapolis, an arts organisation operating across the whole of this Midwest city. This book offers a timely contribution, bridging the gap between cultural studies and placemaking. It will be of interest to scholars, students and practitioners working in geography, urban studies, architecture, planning, sociology, cultural studies and the arts.
What induced the British to adopt foreign coffee-drinking customs in the seventeenth century? Why did an entirely new social institution, the coffeehouse, emerge as the primary place for consumption of this new drink? In this lively book, Brian Cowan locates the answers to these questions in the particularly British combination of curiosity, commerce, and civil society. Cowan provides the definitive account of the origins of coffee drinking and coffeehouse society, and in so doing he reshapes our understanding of the commercial and consumer revolutions in Britain during the long Stuart century. Britain’s virtuosi, gentlemanly patrons of the arts and sciences, were profoundly interested in things strange and exotic. Cowan explores how such virtuosi spurred initial consumer interest in coffee and invented the social template for the first coffeehouses. As the coffeehouse evolved, rising to take a central role in British commercial and civil society, the virtuosi were also transformed by their own invention.
The meaning that people attribute to things necessarily derives from human transactions and motivations, particularly from how those things are used and circulated. The contributors to this volume examine how things are sold and traded in a variety of social and cultural settings, both present and past. Focusing on culturally defined aspects of exchange and socially regulated processes of circulation, the essays illuminate the ways in which people find value in things and things give value to social relations. By looking at things as if they lead social lives, the authors provide a new way to understand how value is externalized and sought after. Containing contributions from American and British social anthropologists and historians, the volume bridges the disciplines of social history, cultural anthropology, and economics, and marks a major step in our understanding of the cultural basis of economic life and the sociology of culture. It will appeal to anthropologists, social historians, economists, archaeologists, and historians of art.
In the age of MapQuest and GPS, we take cartographic literacy for granted. We should not; the ability to find meaning in maps is the fruit of a long process of exposure and instruction. A "carto-coded" America--a nation in which maps are pervasive and meaningful--had to be created. The Social Life of Maps tracks American cartography's spectacular rise to its unprecedented cultural influence. Between 1750 and 1860, maps did more than communicate geographic information and political pretensions. They became affordable and intelligible to ordinary American men and women looking for their place in the world. School maps quickly entered classrooms, where they shaped reading and other cognitive exercises; giant maps drew attention in public spaces; miniature maps helped Americans chart personal experiences. In short, maps were uniquely social objects whose visual and material expressions affected commercial practices and graphic arts, theatrical performances and the communication of emotions. This lavishly illustrated study follows popular maps from their points of creation to shops and galleries, schoolrooms and coat pockets, parlors and bookbindings. Between the decades leading up to the Revolutionary War and the Civil War, early Americans bonded with maps; Martin Bruckner's comprehensive history of quotidian cartographic encounters is the first to show us how.
An inkstone, a piece of polished stone no bigger than an outstretched hand, is an instrument for grinding ink, an object of art, a token of exchange between friends or sovereign states, and a surface on which texts and images are carved. As such, the inkstone has been entangled with elite masculinity and the values of wen (culture, literature, civility) in China, Korea, and Japan for more than a millennium. However, for such a ubiquitous object in East Asia, it is virtually unknown in the Western world. Examining imperial workshops in the Forbidden City, the Duan quarries in Guangdong, the commercial workshops in Suzhou, and collectors' homes in Fujian, The Social Life of Inkstones traces inkstones between court and society and shows how collaboration between craftsmen and scholars created a new social order in which the traditional hierarchy of "head over hand" no longer predominated. Dorothy Ko also highlights the craftswoman Gu Erniang, through whose work the artistry of inkstone-making achieved unprecedented refinement between the 1680s and 1730s. The Social Life of Inkstones explores the hidden history and cultural significance of the inkstone and puts the stonecutters and artisans on center stage. A William Sangki and Nanhee Min Hahn Book