A groundbreaking and extensively researched account of the 1960s London art scene In the 1960s, London became a vibrant hub of artistic production. Postwar reconstruction, jet air travel, television arts programs, new color supplements, a generation of young artists, dealers, and curators, the influx of international film companies, the projection of “creative Britain” as a national brand—all nurtured and promoted the emergence of London as “a new capital of art.” Extensively illustrated and researched, this book offers an unprecedented, rich account of the social field that constituted the lively London scene of the 1960s. In clear, fluent prose, Tickner presents an innovative sequence of critical case studies, each of which explores a particular institution or event in the cultural life of London between 1962 and 1968. The result is a kaleidoscopic view of an exuberant decade in the history of British art.
Too "artistic" for political history, too political for the history of art, the visual history of the campaign for women's suffrage in Britain has long been neglected. In this comprehensive and pathbreaking study, Lisa Tickner discusses and illustrates the suffragist use of spectacle—the design of banners, posters and postcards, the orchestration of mass demonstrations—in an unprecedented propaganda campaign.
A groundbreaking and extensively researched account of the 1960s London art scene In the 1960s, London became a vibrant hub of artistic production. Postwar reconstruction, jet air travel, television arts programs, new color supplements, a generation of young artists, dealers, and curators, the influx of international film companies, the projection of “creative Britain” as a national brand—all nurtured and promoted the emergence of London as “a new capital of art.” Extensively illustrated and researched, this book offers an unprecedented, rich account of the social field that constituted the lively London scene of the 1960s. In clear, fluent prose, Tickner presents an innovative sequence of critical case studies, each of which explores a particular institution or event in the cultural life of London between 1962 and 1968. The result is a kaleidoscopic view of an exuberant decade in the history of British art.
During the eighteenth century, theatrical writing developed as a genre. The publishing market responded to a seemingly insatiable appetite for accounts of the personalities, social lives and performances of celebrated entertainers. This series features actors who were significant in their development of new ways of performing Shakespeare.
“On these pages, the Garden of Eden meets the world we live in.” – Shane Claiborne, activist and author God once declared everything in the world “very good.” Can you imagine it? Through careful exploration of the biblical text, particularly the first three chapters of Genesis, Lisa Sharon Harper shows us what “very good” can look like today—in real time. Shalom is what God declared. Shalom is what the Kingdom of God looks like. Shalom is when all people are treated equitably and have enough. It’s when families are healed. It’s when churches, schools, and public policies protect human dignity. Shalom is when the image of God is recognized, protected, and cultivated in every single human. It is the vision God set forth in the Garden and the restoration God desires for every broken relationship. Shalom is the “very good” in the gospel. Because despite our anxious minds, despite divisions, and despite threats of violence, God’s vision remains: wholeness for a fragmented world. Peace for a hurting soul. Shalom.
An illustrated monography on artist Lisa Sigal, with texts by Nico Israel, Gregory Volk, Jessica Hough. The book covers the artist's work from 2004 to 2007.
A collection of essays examining citizenship as a discursive phenomenon, in the sense that important civic functions take place in deliberation among citizens and that discourse is not prefatory to real action but in many ways constitutive of civic engagement"--Provided by publisher.
Southeast Asian sex workers are stereotypically understood as passive victims of the political economy, and submissive to western men. The advent of HIV/AIDS only compounds this image. Sex Work in Southeast Asia is a cultural critique of HIV/AIDS prevention programmes targetting sex tourism industries in Southeast Asia.
“Has there ever been a better reason to shop?” asks an ad for the Product RED American Express card, telling members who use the card that buying “cappuccinos or cashmere” will help to fight AIDS in Africa. Cofounded in 2006 by the rock star Bono, Product RED has been a particularly successful example of a new trend in celebrity-driven international aid and development, one explicitly linked to commerce, not philanthropy. In Brand Aid, Lisa Ann Richey and Stefano Ponte offer a deeply informed and stinging critique of “compassionate consumption.” Campaigns like Product RED and its precursors, such as Lance Armstrong’s Livestrong and the pink-ribbon project in support of breast cancer research, advance the expansion of consumption far more than they meet the needs of the people they ostensibly serve. At the same time, such campaigns sell both the suffering of Africans with AIDS (in the case of Product RED) and the power of the average consumer to ameliorate it through familiar and highly effective media representations. Using Product RED as its focal point, this book explores how corporations like American Express, Armani, Gap, and Hallmark promote compassionate consumption to improve their ethical profile and value without significantly altering their business model, protecting themselves from the threat to their bottom lines posed by a genuinely engaged consumer activism. Coupled with the phenomenon of celebrity activism and expertise as embodied by Bono, Richey and Ponte argue that this “causumerism” represents a deeply troubling shift in relief efforts, effectively delinking the relationship between capitalist production and global poverty.
Australia has traditionally lacked a strong 'rights' culture. While fairness and equality have been proudly exalted as trademarks of the national mindset, the authors of The Politics of Human Rights in Australia argue that these same characteristics may equate to a form of cultural complacency. The book offers the first comprehensive account of Australia's protection of human rights from a political science perspective. Addressing the key debates surrounding human rights in Australia, the authors ask: Why are voting rights so critical in the Australian context? Should Australia adopt a bill of rights in an 'age of terror'? What are Australia's responsibilities to global and regional refugee crises? How can reconciliation between indigenous and non-indigenous Australians be facilitated? Written by three respected academics at the forefront of their fields, The Politics of Human Rights in Australia offers clarity and insight into the complex issues surrounding the human rights debate in Australia.
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