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"In a key contribution to postcolonial art history, Katrin Nahidi offers a comprehensive study of Iranian modernist art since the 1950s. Using extensive fieldwork, interviews, and archival research, Nahidi contextualizes these artworks and shows their crucial role in shaping ideas around national identity and anti-colonialism"--

This dissertation argues that Emperor Wanli (1563–1620) and his birth mother, Empress Dowager Cisheng (1546–1614), used art as a crucial means of proclaiming their political legitimacy. Whereas previous scholars assumed that the Wanli court's demand for art production served only to fulfill the imperial family's penchant for a luxurious lifestyle, in this study, I reveal the complex political, moral, and financial struggles behind their commissions. By examining extant artifacts and textual records, I uncover Wanli's efforts to declare his independence from the regent rule of his younger years in the construction of his own mausoleum and Cisheng's breakthrough from restrictions on imperial women's agency by sponsoring Buddhist monasteries and imagery. In his early twenties, Wanli embarked on building himself the third largest mausoleum among the thirteen Ming emperors buried in the Tianshoushan area. By analyzing veritable records of how Wanli persistently negotiated with officials about the timing of its construction, its location, and its architectural features, I contend that Wanli sought to imitate his grandfather, Emperor Jiajing (r. 1522–1566), to legitimize his emperorship. Since Wanli ascended the throne at nine years old, the education program designed by Zhang Juzheng (1525–1582), the regent and mentor of Wanli, positively introduced Wanli to various exemplary precedents of sagacious behaviors by emperors, including renovating imperial mausoleums and ordering commemorative art. Therefore, the two monumental paintings of the Wanli court, the Imperial Procession Departing from the Forbidden City and the Imperial Procession Returning to the Forbidden City, which commemorated Dingling's construction, can also find their roots in Zhang Juzheng's teaching. In contrast to Wanli's commissions which were state projects and directly spoke for the emperor himself, Cisheng packaged her Buddhist sponsorship as private projects dedicating to the imperial family or the subjects. By refraining from commissioning outer court institutions to carry out her building projects, Cisheng was praised as an exemplary imperial woman who did not financially burden her subjects. The widely circulated Buddhist imagery promulgating her as a compassionate mother to the emperor and the subjects also granted her political influence during and after the Wanli era.

Empress Dowager Cixi was the last formidable imperial woman of dynastic China and the de facto ruler of the Qing Empire between 1862 and 1908. Her significance in modern Chinese politics is well studied, but the matriarch's encompassing engagement in art remains understudied. This dissertation examines concentrically Cixi's avid participation in portraiture, attire and daily accessories, painting and calligraphy, as well as imperial garden palaces, to illuminate her self-expressions in visual and material cultures. I argue that Cixi utilized the notion of court art as a symbolic realm of sovereignty and adapted prior Qing rulers' patterns of representing authority to visualize the power she exercised. As such, the late Qing court art organizations were at her service to stage her performance as a female ruler.While adopting the visual language of imperial portraiture to represent her authority, the strategic choices of subjects and motifs in the portrait maintained the sitter's womanly identity. In the realm of decorative arts, Cixi manipulated the production of imperial porcelain ware to assert her role as a ruler, but she imprinted a touch of feminine taste in the porcelain by using designs that shared similar color schemes and patterns with those on imperial women's attire. In comparison, the matriarch's performance of the high arts operated differently. Cixi displayed the fondness and capability to participate in the gentlemen's arts. She also spared no effort to model after the painting and calligraphic works of earlier Qing emperors to make an intimate connection with the imperial genealogy. The most ambitious dimension of her patronage lies in the empress dowager's renovation and reconstruction of the imperial space, whose apex was the reconstruction of the Gardens of Nurtured Harmony, which was transformed into an arena of female agency.

Cultural policy has produced divergent intentions underlying the direction of public art since its advent in Western Europe in 1945. Literature has feebly demonstrated the extent to which differentialities in cultural policy have affected the production of public artworks over time and space. This paper fills this gap as regards Amsterdam and Ghent, cities that are situated in different national institutional contexts. It shows dissimilarity—in that one finds a relatively higher number of public artworks, more spatially dispersed and more diversified public artworks in Amsterdam than in Ghent, which is particularly a result of institutional differences—and similarity between these cities, in terms of initiatives by local communities and arts actors, irrespective of the local policy context. These results provide insight into policy concern with public-art production and the everyday practices and cultural traditions that underpin it.

"Der Zusammenhang von sozialen Bewegungen und künstlerischer Produktion scheint durch die Aufmerksamkeitsraster einer an Individuen und ihren Produkten interessierten Kunstgeschichte auf der einen und den mehr an Produktionsverhältnissen und kollektiven Organisations- und Kommunikationsformen ausgerichteten Sozialwissenschaften hindurchzurutschen. Da, wo er thematisiert wird, vor allem im Kontext poststrukturalistischen Ansätze, werden die feldinternen Positionierungen und die Kämpfe um deren Durchsetzung zu gering geschätzt. Zudem wird tendenziell vorausgesetzt, es gebe immer über das Kunstfeld hinausreichende Effekte. Der Text plädiert für eine Lesweise des Zusammenhangs von Kunstproduktion und sozialen Bewegungen, der dessen Effekte nicht als unmöglich, aber auch nicht als selbstverständlich begreift. Neue symbolische Setzungen in der Kunst und die Verschiebung von Wertmaßstäben basieren auf feldinternen Kämpfen einerseits, sind andererseits aber auch als 'cultural politics' zu begreifen, die auf der Ebene der gesellschaftlichen Symbolproduktion agieren." (Autorenreferat)

"Idiot sticks" was a derogatory term used to describe miniature totem poles made as souvenirs for white tourists by the artists of the Kwakwaka'wakw people of British Columbia in the early twentieth century. Tracking the post-contact history of the Kwakwaka'wakw using a combination of historical accounts and interviews with contemporary Kwakwaka'wakw artists, this article explores the obscured subversive and satirical nature of these objects as a form of resistance to settler colonialism, and in doing so reconsiders who really could be considered the "idiot" in this exchange.

Entre accidents du travail, catastrophes sanitaires, inégalités accrues et mise à mal de l'économie, la hausse des températures liée aux changements climatiques bouleverse partout le monde du travail. Un film documente le phénomène.

The German Arts & Craft Society, founded in 1907, played a major role in developing the functionalist & constructivist approaches of modern architecture & industrial design, while embodying protest against capitalistic mass production. Its functionalism, however, was too easily degraded into acceptance of technocratic definitions of function, in which even the memory of urbane lifestyles formerly embodied in facades had been lost. Postmodern architecture combines recognition that modern society no longer has its own language of form, but must draw on those of past societies, with liberation from technocratic rationalism & achievement of participatory forms of practice, understandable in terms of the concept of communicative rationality. The belief that industrial progress inherently tended toward humanization & aesthetic enlightenment has been revealed as naive, but new opportunities for aesthetic fantasy have arisen. W. H. Stoddard.

DiMaggio and Hirsch describe the cycle from creation to consumption through which art is produced. Using an organizational model which could be applied to most culture-producing milieux, they focus on three levels of analysis: interpersonal, interorganizational, and total system.