A study of social‐market interventions in the shaping of the field of cultural production

A social analysis based on extensive evaluation of the Dance and Drama Awards programme reveals the social‐market political paradigm underpinning the formation of cultural policy in the UK underthe New Labour government. This specific intervention in the field of cultural production is placed in the context of broader government interventions in the cultural domain that seek to give respect to undervalued social and cultural groups. There is a political analysis of the characteristics of the social‐market political formation that underpin New Labour’s “affirmative” actions, and the political strategies informing the government’s “access” and “inclusion” agendas and their impact on the cultural and creative industries. The authors argue that the construction of a “social‐market” position in New Labour’s cultural policy represents an attempt to bridge or “hyphenate” the contradictory claims of social democracy, on the one hand, and economic fatalism, on the other. Despite the rhetoric of social and cultural “transformation”, the authors argue that a “faith” in the market prevents New Labour from transforming the political‐economic and cultural structures that generate economic and cultural injustices.     

The Development of Fireproof Construction in Brussels Between 1840–1870

Abstract

Fireproof mill construction had been developed in England at the end of the 18th century. In Brussels, the first large fireproof building was constructed in 1844–1847. All at once, the backlog of 50 years was eliminated. Moreover, for Brussels, the experimental period just started. Not bound by traditions, new techniques and materials were soon adopted. The evolution of the construction history of fireproof building in Brussels is discussed by going more deeply into the construction of six buildings, erected between 1844 and 1870.     

Out of The Shadow of Vasari: Towards A New Model of The ‘Artist’ in Colonial Latin America

Within shifts affecting colonial studies, a ‘life-work model’ employed in colonial art history has been left unexamined. Developed by a contemporary of Michelangelo, Giorgio Vasari (Italy, 1511–1574), this methodology was grounded in particular European social conditions that allowed the creation of the ‘artist’ whose ‘artwork’ was the inalienable product of a single mind and hand. Following the art historical paths laid by Vasari in the viceroyalties leads to dead ends: indigenous artists who efface their individuality; painters who exist with little social or historical context; and artworks whose conservation denies finding the traces of the hands that made them. Because artworks were and are the connective tissue of complex social networks, reconfiguring concepts of ‘artist’ and ‘artwork’ and recasting them in accordance with social practices within Latin America, gains us purchase on how colonial subjects, in their engagement with their material worlds, came to be constructed.

Resemblance to European prototypes is an essential historical reality of colonial artworks: much artwork, particularly the painting, of colonial Latin America ‘looks’ like that of early modern Europe and thus has generated a foundational expectation, laid out in purest form by Manuel Toussaint (Mexico, 1890–1955), that Latin American art history might also look like Europe's. We argue that a mismatch with Europe and its methodologies means that certain, foundational historiographic assumptions about writing art history for Latin America need to be reassessed, in particular the ‘artist’ and ‘artwork.’     

The Temple as a Symbol of Hindu Identity in America?

For overseas Hindu communities, the temple became an important symbol of ethnic regrouping. From the indentured expatriates of sugar colonies of the colonial era through the recent, highly educated, Asian Indian immigrants to America, the Hindu temple has served as a place of worship and, even more importantly, as a symbol of heightened cultural identity. Although the role of the temple in the Hindu regrouping in the diaspora has been previously examined, this paper reexamines this process in America in light of new data. Preliminary results indicate that the Hindu temple is not only an important religious focus for American Hindus, but also has generated links between Indian and expatriate Hindus in new ways. In fact, vigorous temple building activity among all Hindu diasporic communities could lead to a renaissance in temple building and possibly in Hinduism itself. We examine the Hindu temple as a component of the Hindu regrouping process in the postindustrial American context.