From 'Asylum-Seeker' to 'British Artist': How Refugee Artists are Redefining British Art
In: Immigrants & minorities, Band 30, Heft 2-3, S. 211-238
ISSN: 1744-0521
In: Immigrants & minorities, Band 30, Heft 2-3, S. 211-238
ISSN: 1744-0521
[Abstract] In her biographical compilation English Female Artists (1876), Ellen Clayton documented the lives of many talented and hard-working women as a means of bringing to light and celebrating their role in the history of art. Moreover, she also explored these artists' biographies in order to problematize more general issues, thus entering into one of the most significant initiatives of the period: the movement for women's rights, with proposals including the improvement of women's education, their access to art academies, and the amelioration of laws regarding marriage, family and employment. Of particular interest are the lives of celebrated artists who were also leading activists in the period, such as Laura Herford, Eliza Bridell-Fox and Barbara Leigh Smith Bodichon. Therefore, this study aims to explore not only Clayton's approach to female artists within the specific domain of art, but also the incursions that they made into broad social and political issues regarding women. Finally, the presence in various biographies of the term "sisters" is particularly revealing in that Clayton, through her text, could be said to be assembling as many women as possible, not just artists, as a means of fighting for their rights together as sisters ; [Resumen] En su compilación biográfica sobre mujeres artistas English Female Artists (1876), Ellen Clayton documentó las vidas de numerosas mujeres talentosas y muy trabajadoras para reivindicar su participación en la historia del arte. Además, también aprovechó las biografías de estas artistas para abordar temas más generales, adhiriéndose así a una de las iniciativas más relevantes del período: el movimiento por los derechos de las mujeres, con propuestas que incluyen el progreso en la educación de las mujeres, su acceso a las academias de arte y la mejora de leyes sobre el matrimonio, la familia y el empleo. En particular, cabe reseñar las biografías de artistas célebres que también fueron activistas destacadas de la época, como Laura Herford, Eliza Bridell-Fox y Barbara Leigh Smith Bodichon. Así, este estudio tiene como objetivo explorar no solo cómo enfoca Clayton el análisis de la artista en su propio ámbito específico, sino también las incursiones de la autora en temas sociales y políticos más generales relacionados con las mujeres. Finalmente, la presencia en varias biografías de un término significativo, "hermanas", es particularmente revelador, ya que Clayton podría estar intentando reunir a través de este texto a la mayor cantidad posible de mujeres, no solo artistas, para luchar todas juntas como hermanas por sus derechos.Ellen Clayton; English Female Artists; women artists; women's rights movement; Victorian periodEllen Clayton; English Female Artists; mujeres artistas; movimiento por los derechos de las mujeres; época victorianaPalabras clave:Keywords:AbstractResumen
BASE
To protest the 1999 Copyright Act amendment, recording artists Don Henley and Sheryl Crow, among others, co-founded the RAC. While formed to serve as a "voice for artists' rights," the primary impetus behind its founding was to lobby Congress to delete sound recordings from the definition of "works made for hire" in the Copyright Act. Together with intense lobbying by AFTRA, individual recording artists and legal scholars, the RAC succeeded--in October 2000, sound recordings were removed from the definition of "works made for hire." The momentum gained by artists in this lobbying effort inspired an attack on the other proverbial thorn in the side of recording artists--the Seven Year Statute. Since mid-2001, politicians, most notably Senator Kevin Murray, themselves have responded to this momentum by meeting with dozens of recording artists, artists' coalitions and labor union officials. Perhaps the most ambitious lobbying move yet staged by recording artists was four simultaneous concerts occurring in Los Angeles on February 26,2002. Led by Henley, RAC organized the concerts, which included performances by artists such as The Eagles, Sheryl Crow, the Dixie Chicks, Billy Joel, Tom Petty and Beck. All concert proceeds went to RAC for the legal bills it has incurred in its lobbying efforts. In all, the concerts raised $2.5 million for RAC. Henley, however, is careful to note that the concerts were not only about raising money: "This is an awareness-raising exercise, but the money that we're going to generate is not insignificant."
BASE
In: Cahiers d'études germaniques no 81 (2021)
La place réelle des femmes dans l'histoire des arts (littérature, musique, peinture et arts plastiques, théâtre, danse, cinéma, photo etc.) fait actuellement l'objet de nombreux débats, qui interrogent leur rôle en tant que créatrices, au-delà de la reproduction de techniques éprouvées, et la manière dont elles ont réussi à imposer leur légitimité d'artiste, contre des phénomènes récurrents et parfois insidieux de disqualification visant à les invisibiliser. Ce volume retrace des parcours singuliers de femmes artistes, actives pour l'essentiel au XXe siècle dans l'espace germanique
In: News from behind the Iron Curtain, S. 28-37
ISSN: 0468-0723
In: Studies in symbolic interaction, Band 1, S. 289-318
ISSN: 0163-2396
In: Kim Brooks, "Portrait of a Transplant Artist" 48(8 and 9) INTERTAX 698
SSRN
In: International journal of cultural policy: CP, Band 11, Heft 3, S. 325-340
ISSN: 1477-2833
In: Journal of political economy, Band 94, Heft 1, S. 56
ISSN: 0022-3808
In: Journal of political economy, Band 94, Heft 1, S. 56-75
ISSN: 1537-534X
In: Index on censorship, Band 11, Heft 3, S. 40-40
ISSN: 1746-6067
Helping artists is a crime, the tragic story of Yevgenia Gutkina, an art enthusiast, whose efforts to help Russian artists have landed her in a labour camp
This work is a critical analysis of art, memory and prestige in the early twentieth- and late twenty-first-century Philippines. I am concerned with the creation of the Philippine nation by various acts of commemoration and recognition (awards, exhibits, and concerts) through which artists are valorized, immortalized and celebrated. I answer three broad questions: (1) how do patron-client and kinship systems determine the national recognition of artists in the post-colonial world? (2) how is music used in the nation-building project? and (3) how is national mythology created and contested through the commemoration of individual artists in the Philippines? I approach Philippine area studies through discussions of the past in ethnomusicology, borrowing theory from memory studies and methodology from historical anthropology while expanding both fields with a consideration of expressive culture. To describe this interaction between state and artist, I focus on the National Artist Award (NAA), the highest honor bestowed upon an artist by the Philippine government. I begin by recounting an aberration of the nominating process: the 2009 National Artist Award controversy. Then-President Gloria Macapagal Arroyo deleted a name from the prestigious NAA nominee list and added artists with suspiciously close ties to her administration. Then, I analyze the 2010 re-performance of National Artist for Music José Maceda's Ugnayan , a multi-spatial composition for 20 radio stations. This work was originally performed in 1974 with the explicit support of then-First Lady Imelda Marcos. Finally, I describe a 2012 exhibit featuring the materials of National Artist for Music Felipe De Leon Padilla Sr. I sort through clashing characterizations of De Leon of as a "crisis composer" who served the Philippines at times of foreign and domestic peril. Reading against the grain of these public acts of commemoration and recognition, I provide an account from the "ground up" and consider how the public construction of national artists renders the Philippines into a unified conceptual whole.
BASE
In: Renewal: politics, movements, ideas ; a journal of social democracy, Band 16, Heft 2, S. 14-21
ISSN: 0968-252X