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This book presents the COVID-19 pandemic as an opportunity to
re-assess the neoliberal politics, xenophobia, and racism that have
undermined community cohesion in the United Kingdom since 1979, and
which have continued largely unchecked through the last four
decades Guided by three interconnected ideas used throughout to
scrutinise the meaning of culture as a way of life - Raymond
Williams' structure of feeling, Stuart Hall's conception of the
conjuncture, and Chantal Mouffe's agonistic pluralism - Sarah
Lowndes finds that a renewed sense of mutual regard and collective
responsibility are necessary to meet the unprecedented challenges
of the COVID-19 pandemic She begins by reflecting on public
gatherings in Britain from 1945 to 2019, moving on to analyse five
key examples of public gatherings affected by the pandemic 2020
onwards: Chinese New Year, the UEFA Champion's League Final, VE Day
street parties, Black Lives Matter demonstrations, and the
cancellation of Eid Ul-Adha celebrations A thorough examination of
how ideas proliferate and spread through our society, public
sphere, and collective consciousness, this book will appeal to
scholars and upper-level students of cultural studies, cultural
history, sociology, and politics
This book reflects on the motivations of creative practitioners who
have moved out of cities from the mid-1960s onwards to establish
creative homesteads. The book focuses on desert exile painter Agnes
Martin, radical filmmaker and gardener Derek Jarman, and
iconoclastic conceptual artist Chris Burden, detailing their
connections to the cities they had left behind (New York, London,
Los Angeles). Sarah Lowndes also examines how the rise of digital
technologies has made it more possible for artists to live and work
outside the major art centers, especially given the rising cost of
living in London, Berlin, and New York, focusing on three
peripheral creative centers: the seaside town of Hastings, England,
the midsized metro of Leipzig, Germany, and post-industrial
Detroit, USA.
This book considers the history of Do It Yourself art, music and
publishing, demonstrating how DIY strategies have transitioned from
being marginal, to emergent, to embedded. Through secondary
research, observation and 30 original interviews, each chapter
analyses one of 15 creative cities (San Francisco, Los Angeles,
Dusseldorf, New York, London, Manchester, Cologne, Washington DC,
Detroit, Berlin, Glasgow, Olympia (Washington), Portland (Oregon),
Moscow and Istanbul) and assesses the contemporary situation in
each in the post-subcultural era of digital and internet
technologies. The book challenges existing subcultural histories by
examining less well-known scenes as well as exploring DIY "best
practices" to trace a template of best approaches for sustainable,
independent, locally owned creative enterprises.
This book reflects on the motivations of creative practitioners who
have moved out of cities from the mid-1960s onwards to establish
creative homesteads. The book focuses on desert exile painter Agnes
Martin, radical filmmaker and gardener Derek Jarman, and
iconoclastic conceptual artist Chris Burden, detailing their
connections to the cities they had left behind (New York, London,
Los Angeles). Sarah Lowndes also examines how the rise of digital
technologies has made it more possible for artists to live and work
outside the major art centers, especially given the rising cost of
living in London, Berlin, and New York, focusing on three
peripheral creative centers: the seaside town of Hastings, England,
the midsized metro of Leipzig, Germany, and post-industrial
Detroit, USA.
Sarah Lowndes looks back at the rise of the Glasgow art scene
through the decades, from community art to Thatcher, New Wave to
Teenage Fanclub. Charting the emergence of performance and
conceptual-related art, she looks at the background from which the
art of the last 40 years emerged, the social atmosphere which was
able to influence artists, musicians and writers who would go on to
be known worldwide.
This book considers the history of Do It Yourself art, music and
publishing, demonstrating how DIY strategies have transitioned from
being marginal, to emergent, to embedded. Through secondary
research, observation and original interviews, each chapter details
the peak period of a city's subcultural activity and assesses the
contemporary situation since the post-subcultural period circa 1995
in order to address the impact of globalized culture in the wake of
digital and internet technologies. The book aims to challenge
existing histories of sub-cultures by looking at less well-known
scenes and movements as well as explore DIY "best practices" to
trace a template of best approaches for sustainable, independent,
locally owned creative enterprises.
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Richard Wright (Hardcover)
Russell Ferguson, John Lowden, Sarah Lowndes
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R1,544
R1,205
Discovery Miles 12 050
Save R339 (22%)
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Ships in 12 - 17 working days
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An extensive monograph surveying the recent major works of artist
Richard Wright. This fully illustrated publication presents
Wright's exquisite paintings and drawings. Wright states "I wanted
to get to the idea without the object getting in the way." This
attitude led to paintings of extraordinary skill made directly onto
the wall that do away with the physicality of the canvas. This
publication records these special transient events where paintings
have appeared, and for the most part, no longer exist. Winner of
the prestigious Turner Prize (2009), Wright's work was praised by
the judges for its "profound originality and beauty."
Dieter Roth (1930-1998) was an artist of astonishing breadth and
diversity, producing graphics, drawings, paintings, sculptures,
assemblages, and installation works involving sound recordings and
video. He was also a composer, musician, poet, and writer. Roth was
particularly noted for his influential artist's books, including
Literaturwurst (1961-74), a series of books made using traditional
sausage recipes but replacing the sausage meat with pages torn from
other publications. Roth kept diaries and notebooks throughout his
life, using and reusing them in his art and writing. The idea of
keeping a diary-finding a way to record the passing of time and
document his life-is a fundamental theme of his artwork.
Illustrations of pages from Roth's diaries and copybooks of his
major works, including A Diary (1982), Flat Waste (1975), Solo
Scenes (1997-98), and Bar II (1983-97), accompany art historical
assessments by contemporary scholars and contributions from his
peer Jan Vos and his son Bjoern Roth. Distributed for The
Fruitmarket Gallery Exhibition Schedule: The Fruitmarket Gallery,
Edinburgh(08/02/12-10/14/12)
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