Search results

In a process termed “organizational centrifugalism,” this chapter describes how avant-garde artists sought new, alternative organizational spaces for innovations in the visual arts from the late nineteenth century through the early twentieth century and how new alternative marketspaces co-evolved with these new organizational spaces. Organizational centrifugalism begins with the denouement of the state-run Salon and Academy in the mid-nineteenth century; the rise of the dealer-critic system and other, non-salon alternative exhibition spaces of French Impressionism in the latter half of the nineteenth century; and through many new organizational spaces associated with Modernism such as formal artists groups, museums, great exhibitions, schools of art, and Modernist art itself. The ultimate effect of organizational centrifugalism is drawing avant-garde art closer to the public and eventually the masses. Excessive organizational centrifugalism, however, can be dangerous to the avant-garde art.

This article explores memory work and storytelling as an organising tool through family histories, offering theoretical and methodological implications and extending existing conceptualisations of memory work as a feminist method. This approach is termed as impressionist memory work.

To illustrate impressionistic memory work in action, the article presents two family histories set during Second World War and invite the reader to engage in the “undoing” of these stories and dominant ways of knowing through storytelling. This method challenges the taken-for-granted roles, plots and detail of family histories to uncover the obscured or silenced stories within, together with feminine, affective and embodied subjectivities, marginalisation and social inequalities.

This study argues that impressionistic memory work as a feminist method can challenge the silencing and gendering of experiences in co-constructed and co-interpreted narratives (both formal and informal ones).

This study shows that engagement with impressionistic memory work can challenge taken-for-granted stories with prominent male actors and masculine narratives to reveal the female actors and feminine narratives within. This approach will offer a more inclusive perspective on family histories and deeper engagement with the marginalised or neglected actors and aspects of our histories.

Turning laborious ethnographic research into stylized argumentative prose for academic consumption is a painstaking craft. The purpose of this paper is to revisit this perennial issue, and extend a claim the authors have made elsewhere about the inevitably impressionistic, rather than the oft-claimed “systematic”, nature of this task.

The authors draw and reflect on their own experiences of conducting and navigating across political science, ethnography and interpretation in order to justify and uphold the benefits of impressionism.

The authors argue that the impressionistic account of writing up fieldwork has important implications for these diverse disciplinary terrains.

The authors develop an argument as to how and why an appreciation of this craft’s impressionistic nature can affect how the authors go about creating, evaluating and ultimately thinking about ethnographic research in foreign disciplines like political science.

This paper aimed to inform research or collection development on the topic of Claude Debussy, with particular attention paid to English-language resources that highlight the cross-modal nature of his work.

This objective was achieved by examining primary and secondary sources relating to the works and correspondences of Debussy and those of painter James Abbott McNeill Whistler, and the works of poet Charles Baudelaire, whose work influenced Debussy.

Holistically studying Debussy and his contemporary influences enables the researcher to develop a richer understanding of Debussy's work.

This paper may have implications for research on James Abbott McNeill Whistler, Charles Baudelaire, Impressionism, and Symbolism.

This second chapter provides a useful backdrop for understanding innovation beyond the conventional focus on mainstream technology and science by detailing the conceptual underpinnings of cultural innovation. First, the challenges of objectively assessing the worth of novel work in the various fields of art and architecture are explored through the philosophical views of beauty. Second, the strategies and models deployed over time by artists, patrons, and experts to characterize the merits of novelty in the creative fields are reviewed. Third, the economic principles that have been used to frame the value propositions associated with cultural innovations as articulated by cultural economists are explored.

The purpose of this paper is to understand young children’s knowledge of visual literacy elements as well as their ability to comprehend newly introduced visual literacy concepts. The study also examined existing support for visual literacy programs from parents and educators.

The study explored the knowledge of basic visual literacy elements of young children enrolled in two private schools in the New York City metropolitan area. The authors interviewed 17 children, aged four to six years old, about fine art paintings using a semi-structured interview format. Children’s responses were qualitatively analyzed to determine their initial level of visual literacy and their ability to learn and retain the concepts of visual literacy after receiving basic instruction. The children’s educators and parents completed online questionnaires that were quantitatively analyzed to determine their level of support for visual literacy programs.

The findings show that young children exhibited extensive knowledge of simple visual literacy elements (color, shape, line), and limited understanding of more abstract elements (perspective and salience). Children’s knowledge of visual elements improved after instruction. Parents and educators expressed support for incorporating visual literacy instruction in early childhood education.

The study relied on a sample of children and adults drawn from two private schools. The sample’s demographics might have affected study findings. More studies are needed using a larger and more diverse sample.

The study suggests that young children are ready to receive instruction on visual literacy elements using art images. Children reacted positively to the images and were engaged in the discussions about them, supporting the use of fine art paintings as an instrument to introduce visual literacy concepts to young children. Survey of children’s parents and teachers indicated strong interest in, and support for such programs.

With the increase of visual information production and consumption, it is important to introduce visual literacy early in life. The study advances research in methods for developing visual literacy instruction for young children.

There are no previously reported studies that have examined pre-kindergarten children’s knowledge of basic visual literacy elements and reactions to visual literacy instruction.

There are certain accepted points that influence ethnographic work, even though they do not condition or fully determine it. They include the notion that in order to develop theories about human life, an ethnographer must study human activities and the way people interpret their realities in their every-day context and must also identify and then synthesise the conditions of the field, the perspectives of the participants, the latent meanings of the context and the researcher's own ideas for the grounding, generation and expansion of propositions about what is actually going on in the events and places researched. In this process, foreshadowed problems are accepted to frame the initial focus, but producing and analysing materials from multiple sources and perspectives are also important in order to prevent over-steering from private ideas and concepts. Once formed, ethnographic propositions, descriptions or theories are explored and tested in terms of their general scope against further data. Ethnographic field-notes are one of the most important foundations in this activity.

Conflicting theoretical perspectives present radical innovation as originating either from the core or the periphery of a system. Studies tend to bridge this divide by way of positions or roles. This paper proposes a process interface, where ideas from the core are radicalized on the periphery, inverting the established tendency of “tempering” of innovation. This approach realigns the primacy of the core in diffusing ideas and that of the periphery in reinforcing distinctiveness. Radicalization and tempering are interdependent, to the extent that the realization of one denotes other’s termination. Quantitative and qualitative evidence from the history of art lend support to the arguments, including breakthrough paintings, such as The Scream by Munch and Black Square by Malevitch. Radicalization is facilitated by simultaneously increasing differences and exchanges between core and periphery. The mobility of new ideas from the core to the periphery is likely to provoke resistance in a conservative environment. The collision of opposing social forces raises the stakes, making compromise less feasible or desirable.