Pre-Raphaelite Dress and Visual Culture: The Role of the Past in the Development of Marginal Discourses
This article discusses the popularity of fighting doughboy (World War One infantrymen) sculptures in the United States in the context of 1920s American culture and visual culture.
This essay was presented as part of the City University MSc for Library and Information Science Module INM380, Libraries and Publishing in an Information Society. Abstract: An overview of 21st-century visual culture and its implications for digital publishing. This essay explores some of the complexities of the media of 21st-century visual culture and the relationship between publishing, information professionals and the vehicles of today’s information communication society. It delves into how organisations harnessing of visual culture media can influence our thoughts, health and behaviours thereby affecting our informational selves in Floridi’s ‘Infosphere’ (2016). Advertising, fanfiction digital cultures and street art are used as examples whilst considering the social changes and implications of a digitally enhanced, image-led world where anyone can become instantaneous global authors, photographers or critics of the digital copy, leaving publishing to reimagine its role and scope in order to survive.
This essay looks at the ways in which library services relate to the visual culture of the 21st Century. I will begin by discussing what is meant by visual culture followed by brief reports of the current trends. An account of current library practice will be given, along with a short photo essay depicting the changes in the world of libraries. I will attempt to close this essay with a brief look at how such a view could influence the future of library practice. Since the possibilities of what could be defined as visual culture of this century is immense, I am limiting my focus to four areas which I have found of interest: holography, augmented reality, machine learning and video games.
As one of the most important political and religious figures of the mid sixteenth century, Cardinal Reginald Pole (1500–58) has been the subject of valuable historical studies. Although the English prelate was also a humanist, part of a vast intellectual and artistic network he established during his travels to Italy, Flanders, Spain and England, Pole has yet to receive the attention he deserves in History of Art. This article aims at re-appreciating the artistic patronage of the cardinal, in spite of the difficulties raised by the lack of surviving artworks he commissioned and his apparent insensitivity to visual arts. It will be shown that Pole and his religious circle, the spirituali, tried to develop a visual culture of their own, influenced by their religious beliefs and meditational practices. Building on Michelangelo’s famous presentation drawings to Vittoria Colonna – the Pietà and the Crucifixion – as well as on painted and drawn works deriving from them by the hand of other artists, this paper examines Pole and his friends’ preference for sober, small-sized and confidential artworks, suggesting the genre of the miniature as a promising avenue of research as regards to Pole’s patronage.
Popular culture, American Studies, visual culture, music
Afterword of Widowhood and Visual Culture in Early Modern Europe
Introduction to Widowhood and Visual Culture in Early Modern Europe
pop culture, queer studies, gender studies, visual culture, cultural studies
Ch. 13 of Widowhood and Visual Culture in Early Modern Europe