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An introduction is presented in which the author discusses issue on topics including multidimensional interactions between visuality and textuality, role and ramifications of emotive expression in works of art and social practices, and historical and cultural contexts of works of art.

The article explores the work of the artist, Ilene Segalove. Topics discussed include information on the insertion of the Avant-garde art movement into the realm of the popular culture; discussions on the introduction of expressionism in the art by the artists; and the information on the visual strategies of Today's Program: Jackson Pollack by and Segalove’s other photoconceptual works.

This paper examines the publics associated with commercial art galleries in Victorian London, focusing on the last quarter of the nineteenth century. The relationship between the gallery and its publics is framed by the larger issue of the relationship between art and commerce, driven by such questions as: Who was art for? Who constituted art's public(s)? Did commerce interfere with or facilitate art's desired publics? Did commerce taint or strengthen art? I argue that commercial art galleries reveal the disjuncture of the Victorian age, inherited from the eighteenth century, between practices that advanced private interests and rhetoric that demanded the commercial sector serve the needs of the public, foster sociability, advance the arts, and benefit the nation. [ABSTRACT FROM AUTHOR]

The article analyzes the contemporary art historical focus on multiple modernities through two significant exhibitions: After Year Zero at Haus der Kulturen derWelt, Berlin 2013/Museum of Modern Art, Warsaw 2015 and The World Goes Pop, Tate Modern, London (2015). These different exhibitions are aimed at re-reading the post-1945 era in a global context, discussing how arts and culture responded to a global modernity. The article emphasizes the overlapping interests in this by academic art history and criticism as well as museal and curatorial efforts and discusses the idea of curatorial research in these different approaches. [ABSTRACT FROM AUTHOR]

At the 2009 Nordic Culture Forum summit in Berlin that centered on the profiling and branding of theNordic region in a globalized world, one presenter stood out from the crowd. The lobbyist Annika Sigurdardottir delivered a speech that called for the establishment of "The United Nations of Norden": A Nordic union that would gather the nations and restoreNorden's role as the "moral superpower of the world." Sigurdardottir's presentation generated such a heated debate that the organizers had to intervene and reveal that the speech was a performancemade by the artists Jeuno JEKimand Ewa Einhorn. This article takes Kim and Einhorn's intervention as a starting point for a critical discussion of the history and politics ofNordic image-building. The article suggests that the reason Kim and Einhorn's speech passed as a serious proposal was due to its meticulous mimicking of two discursive formations that have been central to the debates on the branding of Nordicity over the last decades: on the one hand, the discourse of "Nordic exceptionalism," that since the 1960s has been central to the promotion of a Nordic political, socioeconomic, and internationalist "thirdway"model, and, on the other hand, the discourse on the "New Nordic," that emerged out of the New Nordic Food-movement in the early 2000s, and which has given art and culture a privileged role in the international re-fashioning of the Nordic brand. Through an analysis of Kim and Einhorn's United Nations of Norden (UNN)-performance, the article examines the historical development and ideological underpinnings of the image of Nordic unity at play in the discourses of Nordic exceptionalism and the New Nordic. By focusing on how the UNN-project puts pressure on the role of utopian imaginaries inthe constructionofNordic self-images, the article describes the emergence of a discursive framework of New Nordic Exceptionalism. [ABSTRACT FROM AUTHOR]

The article refers to the problems of intermediality in the context of contemporary audiovisual culture and performance of Miranda Hart - one of the most popular comedy artists in the United Kingdom. The aim of this paper is to examine her work in this context. It will start with the introduction of the term "intermediality" and will then present Miranda Hart, her depiction in contemporary culture. The main part of the article deals with the (pop)cultural works of art, focusing on the image of the artist emerging from this output, and final part provides a brief overview of her current audience and relations between them. [ABSTRACT FROM AUTHOR]

While the construction of timber houses had been promoted throughout the long history of Istanbul as a response to the fact that the city is situated on a seismic fault, wood as a construction material has been gradually abandoned due to the many disastrous fires the city has experienced. Even so, the timber residences and the urban fabric they once formed traditionally constituted one of the main distinguishing features of Istanbul. These houses are now greatly valued as an element of Turkey's cultural heritage. The districts of Zeyrek and Süleymaniye, two of the four areas of Istanbul that were included on UNESCO's World Heritage List in 1985, have urban fabrics predominantly consisting of timber houses. Despite this status, however, the timber houses in these areas could not be preserved with their original construction techniques and details. In this article Istanbul's traditional residential architecture is examined in terms of its value as a cultural heritage and a determination is made of the factors threatening these values. Two original examples that have been examined in detail, on the basis of their historical development and current features, are presented and the preservation problems encountered by timber houses in Istanbul are examined through these examples. [ABSTRACT FROM PUBLISHER]

The current study focuses on the social construction of definitions of quality in the field of the television drama series in Israel. By doing that, this work challenges Pierre Bourdieu’s claim that since artifacts of ‘popular culture’ industries are not regarded as ‘autonomous’, according to the autonomy-of-art ideology, they cannot be consecrated as works of art. Bourdieu’s thesis was challenged before, but the television field has not yet been extensively studied from this point of view. My study of the broad empirical corpus, including television reviews and interviews with acclaimed Israeli television creators, reveals that artistic quality and commercial appeal show less tension than Bourdieu had suggested. Furthermore, my findings indicate that the autonomy-of-art ideology can be reconfigured to accommodate commercial (e.g. capitalist) considerations. Within this reconfiguration, the ‘quality’ television series can be redefined to include elements of ‘autonomous’ art, such as authenticity, innovation and the input of ‘genius’ creators, alongside such capitalist requirements as profitability. [ABSTRACT FROM AUTHOR]

This article proposes to analyse the transition of Brazilian media celebrities into the political sphere during the last three decades by examining five paradigmatic cases of famous figures who have made forays into politics between the years 1982 and 2012. Global changes in the relationship between the media and the political system, as well as contemporary Brazilian history, have been taken into account while examining each case. The study emphasizes the need to analyse the hierarchical relations between the different domains of the cultural industries and the field of politics, highlighting new patterns of interaction between the field of media entertainment and the democratic process. [ABSTRACT FROM AUTHOR]

The article looks at a collaboration that involves the process of making art together, dialogue, and sharing stories of experience. It shares some of the storied text fragments with co-created hybrid image. It attempts to demonstrate how the stories that surfaced from/on/into/through re-engagement with co-created image of a mermaid helped come to deeper understanding of cultural hybridity and knowing in spaces of in-betweenness.

Employing the concept of a rhetoric of emotions, European Premodern fine art is revisioned as popular culture. From ancient times, the rhetoric of emotion was one of the principle concepts informing the theory and practice of all forms of European cultural production, including the visual arts, until it was gradually displaced during the 1700s and 1800s by an aesthetic of emotion. Under Modernism, a rhetoric of emotion was repressed when addressing fine art, but it was used to denigrate emotional appeals in popular culture. Where Western fine art was understood to express the uniquely felt emotional reactions of individual artists, popular mass culture was condemned as merely exhibiting emotional symptoms and deliberately arousing viewers' emotions for base purposes. However, with regard to emotional appeals, many connections exist between Premodern fine art and today's popular mass culture. Examples include images of emotionalism, sentimentality, horror, violence, exoticism, and eroticism; these appeals are enabled by a similar use of realistic styles, narratives, and formulas. [ABSTRACT FROM AUTHOR]

The article discusses the highlights of the "Perspectives on Contemporary Legend" conference held by the Institute of Ethnology, Faculty of Arts at Charles University in Prague, Czech Republic and the International Society for Contemporary Legend Research (ISCLR) on June 3-8, 2014. The thematic panels are legends and Internet, legend and mass media, and legend, art and popular culture. The Dr. David Buchan Student Essay Prize for best student paper was given to Adriana Kábová.

In the early 1950s, the mobiles created by Alexander Calder became the centre of an international mass culture phenomenon. His ‘invention’ was rapidly absorbed into all manner of consumer products and commercial contexts, across home decoration, fashion, film and advertising. This essay reconstructs the incorporation of the mobile into the worlds of design, decor and do-it-yourself art, suggesting the pressures this exerted on his own practice and reputation, and recasting the mobile as an exemplar of the complex relations between art and consumption at mid-century. The mobile fad is presented as a paradigm for these dynamics: far from rejecting middle class taste, or resisting the norms of consumer culture, the identity of modern art was substantially formulated through its supposedly antithetical relations with the popular and the decorative. In Calder’s case, I argue, these relations are the origin of persistent concerns about the quality of his art, their spectre undermining the recognition of his practice as a serious brand of modernism. [ABSTRACT FROM AUTHOR]

The article focuses on American artist and illustrator John Sloan and his engagement with popular media, imagery and culture. The article discusses Sloan's career as a newspaper illustrator for the newspapers the "Philadelphia Inquirer" and the "Philadelphia Press," comic strips, etchings and puzzles he produced for the periodicals and cultural references found in his work such as a cartoon parody of the work "Whistler's Mother" by artist James McNeill Whistler in a children's rebus. The article goes on to discuss Sloan's depiction of friends and family in his cartoons and the scholarly neglect of Sloan's work due to its mass-cultural form.

An introduction is presented in which the editors discuss various reports within the issue on topics including knowledge management, the economic value of works of art, and medical sociology.

In this digital age, declarations surface of the death of the expert and the democratization of information. Crowd wisdom is seen as the new guide in constructing and evaluating knowledge. In the context of the art world, this tension between the amateurs and the experts becomes particularly pronounced as popular meets high culture. Questions arise such as: what is the role of the expert in the evaluation of art in contemporary times? Do social media dismantle age-old hierarchies and established priesthoods in the art world? And can we assume that mass participation in valuation results in better judgments? This article addresses such popular notions of participation and expertise concerning social media in the art world through a historical lens by re-examining and positioning art experts from past to present. Particularly, characteristics of intermediaries in the art market are examined closely regarding their strategies in knowledge production and the establishment of expertise. This historical situatedness enables us to move beyond the hype of new media expectations, generating more appropriate avenues of investigation to better grasp possible changes amongst actors within the contemporary art world. This examination is not just theoretically relevant but practically so, given current pressures on art institutions to embrace and reach out to new audiences online. [ABSTRACT FROM AUTHOR]

Copyright of Estúdio (1647-6158) is the property of Revista Estudio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Jeremy Deller is one of the most important – and influential – British artists working today. His work encompasses social memory, folk art, re-enactment, situationist polemic and a dedicated interest in art as a social form of political engagement. This interview introduces his work and explores some of his key ideas. He is particularly interesting to those working in the field of history for his continuing engagement with memory, re-enactment, the nature of the artefact, and the ways in which the past is produced (and reproduced) in popular culture. Images and video from all of Deller's work are available here: http://www.jeremydeller.org. [ABSTRACT FROM PUBLISHER]

Copyright of Sociologie de l' Art is the property of L'Harmattan Edition Diffusion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Türk Dünyası Araştırmaları is the property of Turk Dunyasi Arastirmalari Vakfi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An interview is presented with W. J. T. Mitchell, professor of English and Art History at the University of Chicago, Illinois. When asked about his Doctor of Philosophy (PhD) dissertation, Mitchell informs that the topic of his thesis is poet William Blake. He mentions about contemporary Chinese art and reflects upon visual arts as an integral part of cultural studies.

The article focuses on the work of Scottish artist Eduardo Paolozzi. The article discusses collages Paolozzi made from the periodical "Time," his bronze sculptures which depicted human figures as well as artists who influenced him, including Jean Dubuffet and Alberto Giacometti. The article goes on to discuss Paolozzi's work as exhibited at the Institute of Contemporary Arts (ICA) in London, England and at the Museum of Modern Art in New York City, and Paolozzi's incorporation of contemporary subject matter into his art.

An essay is presented which discusses Russian museum culture in the late 19th century. It considers the museum boom which took place at the time, along with the coeval rise in newspapers. The author argues that commentary supplied by newspapers and journals made museums and other cultural events accessible to the general public. Special focus is paid to the Tretiakov Gallery in Moscow, Russia, founded by the merchant Pavel Tretiakov, and to the writings of the art critic Vladimir Stasov.

A particular dimension of democracy has been deprived of attention in both theoretical approaches and empirical research: the case of culture as referring to arts and popular culture. Drawing on examples of how the political role of arts and other forms of culture was acknowledged and exploited at various moments in the history of European societies, the article discusses the ways in which culture is important to "democracy as lived experience" playing a key role in the functioning of democratic societies. Moreover, advancing the thesis that new sources of common identity, democracy and political unity can be found in the European culture, the paper represents a contribution to the framework that clarifies the role of culture - serious or popular - in the current process of forging a European identity. Finding theoretical support in the European literature, cultural policies elaboration, relevant official discourses and statistics elaborated at the European level, the article demonstrates that the answer to the question of European identity will be provided significantly by the European culture as an open space that must be constantly redefined. [ABSTRACT FROM AUTHOR]

The article discusses the work of the contemporary African American artist Dwayne Wright, known as Dubelyoo. Particular focus is paid to Dubelyoo's "urban illustration," a type of illustration that is influenced by the world of hip-hop culture. The artist's work often includes references to a broad array of elements from popular culture including hip-hop music, cartoons and comic book heroes. Other topics addressed include Dubelyoo's commercial success and his use of traditional art materials and methods.

The article discusses the intersection between popular culture and African American visual arts in contemporary society. Particular focus is paid to the influence of popular music, social media and technology on art. In reference to music, the author highlights the distinct influence of the hip-hop/rap and soul/R&B genres on the generation of artists born in the 1970s such as Aniekan Udofia, Rashaad Newsome and Ebony G. Patterson. In addition, the author discusses the work of artists who explore the intersection between art, technology and social media including Nathan Selikoff, Reginald Baylor, Paula Wilson and Kip Omolade.

Copyright of Sociologia Internationalis is the property of Duncker & Humblot GmbH and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines how a teacher drew on her urban students’ outside-school literacies to inform teaching and learning in a reading/language arts classroom. The following findings are discussed: curricular invitations the teacher offered to students; the teacher’s curriculum development process; the relationships between the genres of students’ outside-school literacies and those of the school; and the subject positionings taken up by the students and the teacher in the classroom. The article demonstrates how teachers may affirm the out-of-school literacies of urban students and connect these literacies to the formal curriculum, thereby enhancing students’ in-school literacy engagement and success. [ABSTRACT FROM PUBLISHER]

Copyright of Educação is the property of EDIPUCRS - Editora Universitaria da PUCRS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of APUNTES - Journal of Cultural Heritage Studies is the property of Pontificia Universidad Javeriana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The development of South Asian arts in the UK has gone from using typical colonial and 'high culture' showcases to using particular but still far more 'mainstream' formats, and has been publicly subsidised in a number of ways, including through community projects. In many respects, South Asian arts is not a 'niche product' any more due to the (mainly political) tension towards creating a distinctively 'British Asian' (or BrAsian) rather than a strictly 'South Asian' product. This paper draws upon two case studies of South Asian 'cultural producers' (Dudrah 'Cultural Production' 223) in Northern England to argue that showcasing South Asian art in Britain is a peculiar endeavour, the existence of which must account for multiple functions, multiple audiences and even international politics. The paper argues that recognising this fact has profound implications for the future of British Asian identities and for the negotiation between popular culture and politics. [ABSTRACT FROM AUTHOR]

This article discusses the importance of comic book studies, its history with the youth culture, and its resurgence due to the success of anime and graphic novels. The author describes how comic books were initially dismissed as being entertainment for young boys only, but details their newfound legitimacy, especially in the film industry, where many comic books are being adapted for motion pictures. The crossover of the comic book medium into other forms of media, including mobile device applications and partnerships with the video game system PlayStation Network for distribution deals, are also reviewed.

The article discusses the contradictions between art and life in the work of the artistic avant-garde in Europe. It tackles on the position of the avant-garde within its contemporary mode of production and its relation to the economy as well as the circular-ownership elitism of the cultural life itself which excluded larger public owing to its lack of special aesthetic qualifications that strengthened elitism. Moreover, it mentions the spheres of mass culture and economy that become more interrelated and the transformation of the individual subject into a hybrid entity whose desire for a unified experience can no longer be resolved.

Paul Gauguin has earned his place as one of the most significant artists of the European avant-garde. His works have also traveled to the postmodern Pacific, taking on roles outside his original artistic project. As an index of the tourist fantasy of Tahiti, adorning postcards and advertisements for cruise ships, Gauguin's paintings in a popular context underscore the intertwined histories of colonialism and exoticism. As a powerful symbol of imposed identities, they have also become one site of many for politicized response through the production of creative works by indigenous scholars, artists, and activists. The critical discourse on the artist, therefore, needs to shift: while continued art historical analysis of the artist's work is still needed, scholars should also account for the various sociopolitical arenas that Gauguin's work inhabits in the twenty-first century. Considering Gauguin's relationship to a variety of nineteenth-century vernacular productions, both written and visual, as well as the current popular reproduction of his works and appropriation by indigenous artists and writers, the language of photography and its role as material culture provides a rich model through which to re-examine his work. This essay argues that Gauguin's work and legacy are both productions of travel, and objects that have traveled to the present. [ABSTRACT FROM AUTHOR]

This article provides an overview of the ways in which the image of the medieval Grand Duchy of Lithuania, intended to awaken the national pride and contribute to the building of the national identity, was constructed by artistic means in the Republic of Lithuania during the 1920s and 1930s. It contains a brief discussion on the genesis of the image of the Grand Duchy, including the selection of appropriate historical heroes and events, and the main aspects of their interpretation. The article analyses some of the most striking and influential examples of the image of medieval Lithuania, such as the celebrations of the 500th anniversary of the death of Grand Duke Vytautas the Great in 1930 and art works created for that purpose, the decoration of public buildings (for example, the Museum of War and the Officers' Club in Kaunas, and Lithuania's pavilion in the New York World Fair of 1939). It also looks briefly at the dissemination of the image of the Grand Duchy of Lithuania in popular culture. The article also touches on isolated efforts by a number of intellectuals to warn of the dangers inherent in the extreme glorification of the past. The image of the medieval Grand Duchy of Lithuania, created in interwar Lithuania, was preserved during the period of Soviet occupation. After the restoration of Lithuanian independence in 1990, this image had a significant influence on the mentality and culture of Lithuanian society at the turn of the millennium. In this respect the situation in Lithuania could be treated as a case study, for a similar relation to the past can be encountered in other European post-Communist countries faced with the problem of creating a new identity. [ABSTRACT FROM AUTHOR]

The article analyzes the role which an educated audience plays in the production of art. It is noted that people may be conscious of an artwork without being part of its audience, and the relative breadth or narrowness of various target audiences is discussed. Ideas related to aesthetic judgment are explored, and it is argued that artists who target an excessively narrow audience are less likely to produce aesthetically valuable work. A common counter-argument, that artists ought not to concern themselves with the opinions of the general public, is shown to be flawed, and an observation by the philosopher Ludwig Wittgenstein is cited in this context.

Copyright of Escritos is the property of Escritos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An interview with Iraqi artist Wafaa Bilal is presented. When asked about her art exhibition titled "... and Counting," he explains that it is a continuation of projects with the aim of allowing viewers to engage in a political dialogue. He offers information on his art project titled "Domestic Tension" and also talks about his interest in incorporating pop culture in his art.

This essay critically analyzes the visual works of pop culture artist Anne Taintor. Like Barbara Kruger and other feminist artists, Taintor strategically juxtaposes verbal text and pictorial images to create artwork that critiques representations of women. Reusing old images from women's magazines from the 1950s with new sexually charged language, she problematizes concepts of domesticity, female sexuality, and consumerism. I argue that Taintor's juxtaposition of "good girl" images with "bad girl" text enacts Kenneth Burke's perspective by incongruity. Taintor's artworks demonstrate how the "perspective by incongruity" accomplished through such pointed juxtapositions exposes dominant heterosexist ideologies within the visual realm. [ABSTRACT FROM AUTHOR]

While this article discusses the philosophical and even spiritual relevance of the cultural imprint of individual artists' work, especially for artists originating in a unique environment such as that of Japan, its main purpose is to address how artists capture the character of physical place, whether consciously or subconsciously, when producing creative work in a virtual environment, and how recent artists are exploring their desire to produce tangible objects from their virtual creations. [ABSTRACT FROM AUTHOR]

The subject of the paper was to discuss the urban discourse of Istanbul by forming / developing a track through the representation of presented, proposed and / or produced urban projects in Istanbul eighties through the medium of popular textual media which accessed the community out of the architectural profession. There are several resources, systems and relations constituting the urban / spatial discourse. Urban discourses are nourished not only from the texts produced by the constructors of the urban space, but also from the representations of the print media of the popular culture and they got fermented in the memory of the society. Because discourses are the language codes that are used to represent the thought of the individual. This statement, judgement could be regarded as an appropriate for the 1980s and later in which architecture was particularly defined by the public space, and by entering our daily life was being discussed by the laities. Language is one of the most important factors to constitute/ form urban image in the mind of society. Urban codes exist with using language in life domains (the physical milieu, the buildings, the maps, the media…etc.), which produce their characteristic texts. Using of the language -speaking and understanding it- is the definition ability of human beings, woven into all human activity. It is our judgments and response, believing, relations, values, and situations. As a reflection of our culture, it is reproduction of the spaces. Language is a neglected subject in discussion of the architecture, which is conventionally regarded as a visual rather than the verbal activity. Architects also benefit from the verbal activities and texts to share with their ideas. But it couldn't say that these texts have more aid to constitute / form of urban image. Architecture has its own linguistic register.… [ABSTRACT FROM AUTHOR]