On Theme and Variation

Abstract

The ways in which the author, the sculptor Peter Randall-Page, has made use of the ideas of D’Arcy Thompson are described. How Thompson showed that commonalities of form and pattern exist across the biological and abiotic realms is described, and the implications that physical constraints limit and sometimes dominate the capabilities of evolutionary natural selection are explored. Since we evolved in a world shaped in this manner, the likelihood that this palette of forms is one that carries strong psychological meanings and associations is examined, and the ways in which these forms are a rich source of inspiration and allusion for visual artists are discussed, hinting at the play of opposing tendencies, the dance between order and randomness, and the ways in which nature can derive variations on a theme.     

A Picture Is Worth a Thousand Words: Building American National Identity Through Art

ABSTRACT

Even though agonistic democratic theory espouses and celebrates competition, it seemingly lacks a coherent ethic for decent winning and losing in everyday political life. This article is an effort to fill this void by suggesting a practice-based, non-perfectionist ethic drawn from sport. Focusing on Xenophon's On Hunting, we argue that sport, properly defined, offers an appropriate experience with ponos (toil, suffering) that teaches citizens perseverance, humility, generosity, empathy, and stewardship. This sporting ethic, we argue, provides a more suitable model for winning and losing in public life than the martial basis of agonistic democratic theory.     

Theory and Practice As Responsibility

Abstract

Ralph Hancock's felicitous term “the responsibility of reason” opens a significant revision within political theory. It places primacy in practical reason and reminds us that theory is itself a mode of practice. He finds the deepest affirmation of this insight in Tocqueville's elevation of the art of association into the first principle of the science by which politics is comprehended. There is no science of politics apart from the exercise of responsibility itself.     

Heroes and Political Communities in John Ford's Westerns: The Role of Wyatt Earp in My Darling Clementine

Abstract

Widespread moral corruption, particularly of the sort fostered by their internal security agencies, was a key feature of communist regimes. The Lives of Others provides a dramatic portrayal of this phenomenon as it occurred in East Germany. The film can appear, given its central story of the moral redemption of a Stasi officer through his becoming intrigued by the lives of artists, to be an overly idealistic or audience-pleasing testament to the humanizing power of art. But the film also reveals the possible moral corruption of the artists. This essay provides a typology of the sorts of moral corruption exemplified by the situations of different characters in the film and shows that the main artist is actually saved from his impending corruption by the Stasi officer's actions. This reciprocal rescue is the key feature of the film's plot; it teaches that while art can undermine and resist totalitarian corruption, it is also susceptible to its snares—especially when it apolitically relies upon its own resources.     

Accommodating ‘design’: introducing the Western concept into Soviet art theory in the 1950s–60s

This article investigates the background of Soviet industrial design in Soviet art theory. Instead of considering design's interconnection with technology and science, or with consumption and everyday life, the author traces its conceptualisation as a new artistic phenomenon. Using archival records of professional discussions, polemical articles in the art press and design projects, the author looks at how industrial design was incorporated into the Soviet order of things. She concludes that accommodation of the Western model was the way to reform the system of socialism from inside, typical for the Soviet intelligentsia of the 1960s.     

Guerilla art,social value and absent heritage fabric

There is extensive commentary on the role of unauthorised art, but little on the coincidence of heritage value and guerilla art. This paper analyses the relationship of the two in a 2007 statue which is a monument to a lost place for which there is no surviving historic fabric. The statue functions not just as a place of memory, but of guerilla art; a complex interplay has emerged between an official piece of government art and unsanctioned community performance. Growing heritage emphasis on social value over the previous dominance of original fabric suggests that the delight with which the statue has been greeted illuminates evolving heritage philosophy, monument language and the emergence of the importance of the heritage community especially for its potential performance value at a site. The dramatic contribution that the statue has made to the city has an impact on the fields of landscaping, planning, history and heritage.     

Culture and nature in the mediterranean: towards an integrated approach

Tate Britain’s 2011 poster campaign boldly states ‘This is Britain’ and reproduces two works from the collection, one historic, one modern or contemporary, with a strip of Union Jack flag at the bottom. The design suggests a sense of coherence in the collection and in British art in general. This article questions the purpose of this supposed coherence, by questioning its art historical basis, and focusing on its consequences for the reception and perception of historic, modern and contemporary British art amongst Tate’s audience, both within and without the gallery space. The ideas presented draw on press commentary, visitor statistics and museum advertising practice and look at three points in Tate’s history: the Millbank gallery’s 1897 opening, the 2000 rebrand as Tate Britain and the current moment of this poster campaign. This article will argue that the transhistorical juxtapositions seen in these posters are a central tenet of how Tate builds its own identity and that of British art, and that these posters are used as a satellite exhibition space, but with a curatorial approach other to that of the gallery itself, so that the collection is displayed to attract the maximum potential audience.     

Problematizing silences in intangible heritage: unsettling historical records of women in protests

Abstract

This paper addresses questions of women’s visibility in constructed histories, as well as levels of recognition concerning their participation in politics through historical narratives. In particular, historical narratives representing women in protest in the context of waterfront heritage zones associated with the shipbuilding industry are examined, based on examples of two public art projects: Strong Women of the Clydeside: Protests and Suffragettes from Govan’s Hidden Histories led by the artist t s Beall in the Govan area of Glasgow, Scotland and Shipyard is a Woman by Arteria Association and Metropolitanka in Gdansk, Poland.     

‘The land and its people’: reflections on artistic identification in an age of nations and nationalism

From the late eighteenth century onwards, increasing numbers of visual artists came to identify with their nations and with the homeland and its people. This development was strongly influenced by growing national cultural support and regulation of the arts by academies, art schools, museums and art markets in Western Europe. On a subjective level, the Rousseauan movement of a ‘return to Nature’, Herder's espousal of vernacular cultural self‐expression and, above all, the widespread Romantic cult of authenticity, were potent influences on the inner self‐identification of visual artists after 1800, and were manifested in the novel importance accorded to landscape and rural genre painting in Western Europe. Here I consider the role of national sentiment, the ‘return to Nature’ and the cult of authenticity, first in landscape paintings by Paul Sandby, J. M. W. Turner and John Constable in early nineteenth‐century Britain, and then in the rural genre paintings of Jean‐Francois Millet and Jules Breton in nineteenth‐century France and Josef Israels, Anton Mauve and Vincent Van Gogh in the later nineteenth‐century Netherlands. Their work reveals how nineteenth‐century visual artists became inwardly identified with the ‘land and its people’, and how they in turn contributed, especially through prints and engravings, to the dissemination of national imagery and a cultural nationalism.     

广西花山岩画颜料脱落和褪色原因分析

花山岩画是研究我国百越民族古代社会历史最重要、最直接的资料,岩画颜料脱落和褪色是岩画的主要病害。任何文物发生病害既与其制作材料和工艺有关,也与其保存环境因素相关。本工作在花山岩画制作材料和工艺分析研究以及区域环境特点分析的基础上,分析并讨论了岩画颜料脱落及褪色发生的原因。结果表明,岩画颜料层病害主要是受物理风化(温差变化、高湿度与光辐射)、化学风化-溶蚀作用和胶结材料老化引起;颜料褪色是由于岩画颜料表面覆盖泥质薄膜和颜料胶结材料老化导致颜料颗粒脱落致使颜料色彩饱和度降低,岩画颜色变淡变暗。