This article attempts to show how the conventional opposition between art and culture, on the one hand, and administration and organization, on the other, has been displaced. The main reason given for this phenomenon is the convergence of the collapse of notions of the political and aesthetic causality of art and culture with the destabilizing effects of postmodernism on organizational and administrative stability. After a discussion of the emergence of political regimes of audit within relations between culture and administration, the article locates the causes of the dominance of 'cultural governance' within the dynamics of modernist aesthetic values such as autonomy. The article concludes with a discussion of some optimistic possibilities that may arise from this scenario.
Separating Heads and Bodies in Eastern Europe
What remains of the Soviet identity for those who grew up in an empire that started in the Baltic sea and ended in Kamchatka? What kind of post-Soviet cultural combos have been produced afterwards? Was it bizarre to listen to Led Zeppelin and Nirvana while being targeted with nuclear missiles from the West? In a retrospective way and engaging with the collective memory of his home country, Estonia, the author reflects on different narratives of Europeanisation, shame and peripherality and the way local people embodied them.
This article reviews works of contemporary female artists of Ethiopian origin active in the Israeli art field. I analyse the subjects in their work and argue these artists are presenting their attitudes towards the ‘white gaze’. Though constantly subjected to it by the Israeli hegemony and the Western masculine discourse, they are notably decreasing their consideration of it. They broaden the restricted field of action that seems designated for them and alter its boundaries. Drawing on theorists of gender, postcolonial theory and theory of art, I demonstrate how these artists are promoting an agenda that reflects their lives as black women in Israel. Influenced by recent socio-political changes and a decline in representations of black women on TV and in visual arts, these artworks were increasingly exhibited in solo and group exhibitions.
K. Steven Vincent Victor Considérant and the Rise and Fall of French Romantic Socialism by Jonathan Beecher
Thomas Kselman Educating the Faithful: Religion, Schooling, and Society in Nineteenth-Century France by Sarah A. Curtis
Hollis Clayson Impressionists and Politics: Art and Democracy in the Nineteenth Century by Philip Nord
Alice Bullard The Colonial Bastille: A History of Imprisonment in Vietnam, 1862-1940 by Peter Zinoman
Michael Miller Cette vilaine affaire Stavisky. Histoire d’un scandale politique by Paul Jankowski, trans. Patrick Hersant
Philip Nord Les Orphelins de la République: Destinées des députés et sénateurs français (1940-1945) by Olivier Wieviorka
Daniel G. Cohen The Legacy of Nazi Occupation: Patriotic Memory and National Recovery in Western Europe, 1945–1965 by Pieter Lagrou
Warren Motte French Fiction in the Mitterrand Years: Memory, Narrative, Desire by Colin Davis and Elizabeth Fallaize
Christopher S. Thompson “Être Rugby”: Jeux du masculin et du féminin by Anne Saouter
The Power Dynamics of Knowledge Production in Political Thought
Camilla Boisen and Matthew C. Murray
institutions and how the conventional terms of political art have failed or impoverished those facing inequality. It is here that we wish to raise the issue of how deep such a criticism must run to be effective. Resistance and conflict in these areas or others
Environmental Sociology Meets Science and Technology Studies
Rolf Lidskog and Göran Sundqvist
): 401 – 417 . Wynne , Brian . 2010 . “ Strange Weather, Again: Climate Science as Political Art ”. Theory, Culture and Society 27 ( 2–3 ): 289 – 305 .
Moving beyond Carceral Logics
carceral security. If ‘arrest’ – like other carceral security processes – ‘is the political art of individualizing disorder’ ( Feldman 1991: 109 ), and if ‘law-making is power making, and, to that extent, an immediate manifestation of violence’ ( Benjamin
Paul Apostolidis, William E. Connolly, Jodi Dean, Jade Schiff and Romand Coles
crucial “ethical and political art” of “radical receptivity” (34). With the latter phrase, Coles connotes “the difficult arts of moving with responsive creativity in the face of entrenched and blinding challenges and unfamiliar opportunities” (34). Given
Discovering the Future in the Hispanic World
Translator : Mark Hounsell
a kind of imaginary “court of the future” to judge the present moment—be it in the realm of politics, art, or whatever—in accordance with the supposed criteria of that hypostatized tomorrow. 59 In this way Figure 1 El porvenir in the Spanish