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Setting out from Okakura Kakuzō and Ernest Fenollosa's famous "discovery" of the Yumedono Kannon, this article will trace the contested construction of the categories of "religion" (shūkyō) and "fine art" (bijutsu) in Meiji Japan. In religious studies circles, it has become commonplace to think of "religion" as the only disciplinary master category with issues. However, not only was "religion" invented in Japan, but "fine art" was invented there too. Indeed, categories from "culture" to "society" to "politics" have similar issues. Attending to these will help refocus crucial debates away from an obsession with translation and onto more fundamental issues about "cultural categories" as such. This paper will advance the debate by explaining the attendant constructions of "religion" and "fine art" as process social kinds. In doing so, it will showcase the museum and the temple as central sites of materialized disputation over global categories and their local instantiation. It will show how assimilation to the world-system in the long nineteenth century was a complex multi-generational process of negotiation and contestation, producing new hybrid spaces, returns, transformations, and innovations that then reflected back on global systems, changing them in subtle but profound ways.

This book, edited by Nick Thurston, contains essays by John Mullarkey, Professor of Film and Television at Kingston University and Robert Williams, Professor of Fine Art at Cumbria University. I, Sparkie represents a rich and unusual archive relating to the life of a real budgerigar, Sparkie Williams, who was raised and trained in Newcastle, England by Mrs Mattie Williams. Between 1954-58 Sparkie came to be recognised as the world's most famous talking animal. His vocabulary included over 500 words; he won awards and a place in the Guinness Book of Records; his voice was used on pop records and bird seed adverts; his dialect was distinctly Geordie; and his taxidermed remains have their own strange history of display. Since the late 1990s Northern Irish artist Andrew Dodds has sustained an artistic study of Sparkie's history and the relations of that history to the natural sciences, museology, the voice, human/non-human relations and the government of 'nature'. In his new book Dodds reveals the Sparkie archive held by the Natural History Society of Northumbria, much of which has never been reproduced before, including facsimile extracts from a typescript of Mattie Williams's moving biography of her beloved pet. I, Sparkie also presents two invited analyses of the 'Sparkie phenomena' by esteemed academics John Mullarkey and Robert Williams who explore the philosophy of animal studies and some cultural mysteries of (uncanny) talking animals respectively. In the inside cover of every copy is an 18-minute audio CD of a private reel-to-reel recording of Sparkie learning to talk, transferred and abridged by the artist, that has never been publicly released. The publication opens with an extensive interview with Dodds that situates the project in a complex web of social, political, cultural and speculative histories (plural) relating the artist's oeuvre and the crises evoked by Sparkie's persona.

Hip-hop culture is structured around key representational elements, each of which is underpinned by the holistic element of knowledge. Hip-hop emerged as a cultural counter position to the socio-politics of the urban condition in 1970s New York City, fuelled by destitution, contextual displacement, and the cultural values of non-white diaspora. Graffiti&mdash ; as the primary form of hip-hop expression&mdash ; began as a political act before morphing into an artform which visually supported the music and dance elements of hip-hop. The emerging synergies graffiti shared with the practices of DJing, rap, and B-boying (breakdancing) forged a new form of art which challenged the cultural capital of music and visual and sonic arts. This article explores moments of intertextuality between visual and sonic metaphors in hip-hop culture and the canon of fine art. The tropes of Michelangelo, Warhol, Monet, and O&rsquo ; Keefe are interrogated through the lyrics of Melle Mel, LL Cool J, Rakim, Felt, Action Bronson, Homeboy Sandman and Aesop Rock to reveal hip-hop&rsquo ; s multifarious intertextuality. In conclusion, the article contests the fallacy of hip-hop as mainstream and lowbrow culture and affirms that the use of fine art tropes in hip-hop narratives builds a critical relationship between the previously disparate cultural values of hip-hop and fine art, and challenges conventions of the class system.

The aim of this paper is to identify the risks that need to be addressed when holding fine art, determine which are perceived as being the most important, and whether the risk perception is influenced by demographic variables such as age, educational background, and field of occupation. To identify the risks and evaluate the risk perception, we used a purposely designed questionnaire and sent it via various sources of communication systems and applications to individuals knowledgeable on fine arts. Findings revealed that, generally, art deterioration, art fraud, and art theft are the three main highlighted risks, with art deterioration considered in the high-risk range. In terms of risk perception, forgery is the biggest concern. On the other hand, considerations of the investment value of art lessened perceived risk exposure. Furthermore, the study has shown that certain risk perceptions were influenced by the participants' demographic variables. Both the identified risks and risk perception considerations analyzed within this study provide us with insights as to what needs to be considered when offering fine art insurance, particularly when it comes to which risks that are perceived as being the most pressing by potential policyholders, and how these perceptions vary according to individual demographics variables as noted above. ; peer-reviewed

Multicultural awareness in Indonesia has been widely discussed since the Dutch colonial era. According to Furnivall, that the plural society in the Dutch East Indies consisted of two unique characteristics, which were horizontally marked by social unions based on differences in ethnicity, religion and tradition. Then vertically, the structure of the society is marked by sharp differences between the upper and lower layers. In this case, there are two key words, namely between the peaks of regional culture and foreign culture, in this case if there is a fading of the sense of unity because they think that one ethnic group feels that its culture is superior to another, there will be inequality which endangers the multicultural nature. Based on this, in order to avoid learning the history of Indonesian fine art that is not based on multiculturalism, in this case it has long been initiated with a more democratic substance as in the Archipelago Art Review course since the 1980s on the grounds that there are many artistic remains outside the islands of Java, Sumatra and Bali which has been built since the end of prehistoric times.

You've read about Jack Welch, Lou Gerstner and Steve Jobs - but what can you learn about business from van Gogh and Picasso? The Fine Art of Success shows why you should look to pop-stars like Madonna or artists like Damian Hirst for guidance on innovation, competitive advantage, leadership, and a host of other business issues. Managers, marketing professionals, and students will see how these creative artists can help their organizations. Chapters include Madonna - Strategy at the dance floor; Damian Hirst - The shark is dead/How to build yourself a new market; Beuys - Understanding creativit.