Art Crossing Bordersoffers a thought-provoking analysis of the internationalisation of the art market during the long nineteenth century. Twelve experts, dealing with a wide variety of geographical, temporal, and commercial contexts, explore how the gradual integration of art markets structurally depended on the simultaneous rise of nationalist modes of thinking, in unexpected and ambiguous ways. By presenting a radically international research perspective Art Crossing Bordersoffers a crucial contribution to the field of art market studies.
This book presents and analyzes artistic interactions both within the Soviet bloc and with the West between 1945 and 1989. During the Cold War the exchange of artistic ideas and products united Europe?s avant-garde in a most remarkable way. Despite the Iron Curtain and national and political borders there existed a constant flow of artists, artworks, artistic ideas and practices. The geographic borders of these exchanges have yet to be clearly defined. How were networks, centers, peripheries (local, national and international), scales, and distances constructed? How did (neo)avant-garde tendencies relate with officially sanctioned socialist realism? The literature on the art of Eastern Europe provides a great deal of factual knowledge about a vast cultural space, but mostly through the prism of stereotypes and national preoccupations. By discussing artworks, studying the writings on art, observing artistic evolution and artists? strategies, as well as the influence of political authorities, art dealers and art critics, the essays in Art beyond Borders compose a transnational history of arts in the Soviet satellite countries in the post war period. ÿ
Art Crossing Borders offers a thought-provoking analysis of the internationalisation of the art market during the long nineteenth century. Twelve experts, dealing with a wide variety of geographical, temporal, and commercial contexts, explore how the gradual integration of art markets structurally depended on the simultaneous rise of nationalist modes of thinking, in unexpected and ambiguous ways. By presenting a radically international research perspective Art Crossing Borders offers a crucial contribution to the field of art market studies.
A cross-disciplinary appraisal on the role of migration embodied in works of art and material culture Artistic production and the preservation of cultural property have always been subject to the ebb and flow of international influences. Major factors have included the supply of materials, the migration of artists, designers and craftspeople, as well as evolving conservation theory and practice within the spheres of the fine and applied arts. The cross-disciplinary papers in this volume, presented at a conference in Cambridge, reflect on the role of migration embodied in works of art and material culture as documented in visual and written sources.
Examining works by Toni Morrison, Paule Marshall, Faith Ringgold, and Betye Saar, this innovative book frames black women's aesthetic sensibilities across art forms. Investigating the relationship between vernacular folk culture and formal expression, this study establishes how each of the four artists engaged the identity issues of the 1960s and used folklore as a strategy for crossing borders in the works they created during the following two decades. Because of its interdisciplinary approach, this study will appeal to students and scholars in many fields, including African American literature, art history, women's studies, diaspora studies, and cultural studies.
2023 Honorable Mention, Isis Duarte Book Prize, Haiti/ Dominican Republic section (LASA) 2023 Winner, Gordon K. and Sybil Lewis Book Award, Caribbean Studies Association An innovative study of the artistic representations of undocumented migration within the Hispanophone Caribbean Debates over the undocumented migration of Latin Americans invariably focus on the southern US border, but most migrants never cross that arbitrary line. Instead, many travel, via water, among the Caribbean islands. The first study to examine literary and artistic representations of undocumented migration within the Hispanophone Caribbean, Crossing Waters relates a journey that remains silenced and largely unknown. Analyzing works by novelists, short-story writers, poets, and visual artists replete with references to drowning and echoes of the Middle Passage, Marisel Moreno shines a spotlight on the plight that these migrants face. In some cases, Puerto Rico takes on a new role as a stepping-stone to the continental United States and the society migrants will join there. Meanwhile the land border between Haiti and the Dominican Republic, the only terrestrial border in the Hispanophone Caribbean, emerges as a complex space within this cartography of borders. And while the Border Patrol occupies US headlines, the Coast Guard occupies the nightmares of refugees. An untold story filled with beauty, possibility, and sorrow, Crossing Waters encourages us to rethink the geography and experience of undocumented migration and the role that the Caribbean archipelago plays as a border zone.
CROSSING CULTURAL BORDERS UNIVERSALS IN ART AND THEIR BIOLOGICAL ROOTS is a book written for art lovers. It describes how artists from prehistoric to modern times have exploited brain systems that evolved for survival to create art that viewers around the world admire today. This neuroesthetic approach to art offers new insights into several universal aspects of art and suggests new solutions to old puzzles, for example: Why is balance around the center pleasing? How do viewers recognize movement, emotional states and intentions in persons depicted in art? Why is 'variety in unity' (diversity of colors and forms organized in patterns) a universal principle in decorative art? How do artists use their visual memory and mental imagery in creating art? This book includes 52 works of art from cultures around the world and from prehistoric to modern times.
In Joyce Carol Oates’s story “The Translation,” a traveler to an Eastern European country falls in love with a woman he gets to know through an interpreter. In Lydia Davis’s “French Lesson I: Le Meurtre,” what begins as a lesson in beginner’s French takes a sinister turn. In the essay “On Translating and Being Translated,” Primo Levi addresses the joys and difficulties awaiting the translator. Lynne Sharon Schwartz’s Crossing Borders: Stories and Essays About Translation gathers together thirteen stories and five essays that explore the compromises, misunderstandings, traumas, and reconciliations we act out and embody through the art of translation. Guiding her selection is Schwartz’s marvelous eye for finding hidden gems, bringing together Levi, Davis, and Oates with the likes of Michael Scammell, Harry Mathews, Chana Bloch, and so many other fine and intriguing voices.
The chronicle of a ten-year partnership between MIT and Singapore's Education Ministry that shows cross-border collaboration in higher education in action. In this book, Dara Fisher chronicles the decade-long collaboration between MIT and Singapore's Education Ministry to establish the Singapore University of Technology and Design (SUTD). Fisher shows how what began as an effort by MIT to export its vision and practices to Singapore became an exercise in adaptation by actors on the ground. As cross-border higher education partnerships become more widespread, Fisher's account of one such collaboration in theory and practice is especially timely.
Dancing Across Borders presents formal and non-formal settings of dance education where initiatives in different countries transcend borders: cultural and national borders, subject borders, professional borders and socio-economic borders. It includes chapters featuring different theoretical perspectives on dance and cultural diversity, alongside case narratives that show these perspectives in a specific cultural setting. In this way, each section charts the processes, change and transformation in the lives of young people through dance. Key themes include how student learning is enhanced by cultural diversity, experiential teaching and learning involving social, cross-cultural and personal dimensions. This conceptually aligns with the current UNESCO protocols that accent empathy, creativity, cooperation, collaboration alongside skills- and knowledge-based learning in an endeavour to create civic mindedness and a more harmonious world. This volume is an invaluable resource for teachers, policy makers, artists and scholars interested in pedagogy, choreography, community dance practice, social and cultural studies, aesthetics and interdisciplinary arts. By understanding the impact of these cross-border collaborative initiatives, readers can better understand, promote and create new ways of thinking and working in the field of dance education for the benefit of new generations.
