Art In England Research Articles

Matthew Craske. The Silent Rhetoric of the Body: A History of Monumental Sculpture and Commemorative Art in England, 1720–1770. New Haven, CT, and London: Paul Mellon Centre for Studies in British Art for Yale University Press, 2007. Pp. 528. $75.00 (cloth).

Matthew Craske. The Silent Rhetoric of the Body: A History of Monumental Sculpture and Commemorative Art in England, 1720–1770. New Haven, CT, and London: Paul Mellon Centre for Studies in British Art for Yale University Press, 2007. Pp. 528. $75.00 (cloth). - Volume 48 Issue 2

Portrait collection and display in the English civic body, c.1540-1640

In the burgeoning scholarly literature on the history of collecting and display of art in England, very little attention has been paid to painting collections made by institutions rather than individuals. A survey of the acquisition, collection and display of paintings, especially portraits, in post-Reformation England shows that civic bodies such as towns and boroughs, livery companies, schools and university colleges also indulged in such activities. However, they did so for quite different reasons than contemporary individual collectors seeking to replicate and possess elements of neoclassical culture: men and women whom we associate with the ‘Renaissance’ and with the goal of self-fashioning.

Neo‐liberal ‘governmentality’ in the English and Japanese higher education systems

The purpose of this paper is to identify common patterns in central authorities' steering of universities and the institutional power in neo‐liberal higher education regimes. The paper examines the regulatory mechanisms of England and Japan through Foucault's idea of ‘governmentality’ and utilises the concept of autonomy to identify the state‐university nexus and institutional behaviour. The paper argues that the similar application of technologies of arts in England and Japan – such as financial incentives and output quality management – has not brought about the same effect across the two countries in institutional behaviour and culture. In the case of England, the decline of traditional university autonomy – which isolated the university sector from external pressure – and increasing external influence in the value system are the case, while in Japan, the shift is rather internal within an institution, changing from department to institutional autonomy, which is compatible with the concept of accountability.

Understanding arts audiences: existing data and what it tells us

Increasing public engagement with the arts is a core part of Arts Council England's mission. It is also a key objective of the Department of Culture, Media and Sport. The need for evidence based policy in this area has led to the production of a number of new data sources, including the commissioning of the Taking Part survey, an in-depth survey of how people in England attend and participate in the arts, and the “arts debate”, a wide-reaching programme of qualitative research and consultation into people's attitudes to the arts and their funding. This article examines the benefits and pitfalls of the different kinds of data available, and what these new sources of evidence add to policy makers' understanding of how people engage with the arts in England. In particular, it explores how findings from the arts debate complement and build on the quantitative findings from Taking Part, and what implications this has for future research priorities.

PICTURES AND POPERY, ART AND RELIGION IN ENGLAND, 1660–1760 BY CLARE HAYNES

PICTURES AND POPERY, ART AND RELIGION IN ENGLAND, 1660–1760 BY CLARE HAYNES

Teaching & Learning Guide for: Politics, Print Culture and the Habermas Thesis Cluster

Teaching & Learning Guide for: Politics, Print Culture and the Habermas Thesis Cluster

Data, methods and interpretation in analyses of cultural consumption: A reply to Peterson and Wuggenig

Peterson’s and Wuggenig’s critical comments refer specifically to our paper ‘Social stratification and cultural consumption: the Visual Arts in England’ (Chan and Goldthorpe, 2007c). However, their criticisms could, at least in some of their more general aspects, be taken to apply to all of the contributions to the special issue ofPoetics in which our paper appeared, and of which we were Guest Editors. We would therefore wish this reply to be in turn understood as having a wider reference than to our paper alone, and we shall in fact have occasion to refer, if only briefly, to the work of several of our colleagues. We consider Peterson’s and Wuggenig’s commentaries together under the following three headings: data, analytical methods and interpretation, although as regards methods we are chiefly concerned with Wuggenig’s position. 1. Data Both Peterson and Wuggenig seek to show that our paper is flawed through its reliance on the secondary analysis of data of a kind that is inadequate to our substantive concerns. As a preliminary point here, we may note that Peterson (p. 301) begins by contrasting our approach with that ofBourdieu (1984) which, in his view, ‘represents a classic case of a purpose-built questionnaire’. The contrast is unfortunate, for while Bourdieu’s questionnaire is indeed purpose-built, his survey is technically flawed both as regards sampling 1 and – as we

Comments on Chan and Goldthorpe: Pitfalls in testing Bourdieu's homology assumptions using mainstream social science methodology: Social stratification and cultural consumption: The visual arts in England

Comments on Chan and Goldthorpe: Pitfalls in testing Bourdieu's homology assumptions using mainstream social science methodology: Social stratification and cultural consumption: The visual arts in England

Social stratification and cultural consumption: The visual arts in England

In this paper, we use recent survey data on the visual arts in order to test three arguments concerning the relationship between social stratification and cultural consumption: i.e. what we label as the ‘homology’, the ‘individualisation’ and the ‘omnivore–univore’ arguments. Through latent class analysis, we identify three types of consumer in the visual arts—‘omnivores’, ‘paucivores’ and non-consumers or ‘inactives’. We then examine the social character of these types through a regression analysis that includes a range of demographic and stratification variables. As would be expected from a Weberian standpoint, the types are more strongly differentiated by status than by class—or income. Education is still more important than status, although how far it should be interpreted as a stratification variable can be questioned. Our findings reinforce those we have previously reported on cultural consumption in the domains of music and of theatre, dance and cinema in indicating that the homology and individualisation arguments lack empirical support. Further, though, the omnivore–univore argument seems less applicable in the visual arts than in other domains. Univores are not apparent and it is inactives that represent the numerically most important type. Moreover, it is in the distinction between inactives, on the one hand, and omnivores and paucivores together, on the other, that social stratification is most obviously expressed.

National visions, national blindness: Canadian art and identities in the 1920s

Acknowledgments Introduction 1 Canadian Art in England 2 England in Canadian Art 3 Canadian Art in Paris 4 Canadian Primitives in Paris 5 Barbeau and Kihn with the Stoney in Alberta 6 Barbeau and Kihn with the Gitxsan in British Columbia 7 Giving Gitxsan Totem Poles a New Slant 8 Representing and Repossessing the Skeena Valley 9 West Coast Art, Native and Modern 10 The Downfall of Barbeau 11 Revisiting Carr Conclusion Notes Bibliography Index

Wall art in England

Critical QuarterlyVolume 48, Issue 1 p. 68-79 Wall art in England A. D. HARVEY, A. D. HARVEYSearch for more papers by this author A. D. HARVEY, A. D. HARVEYSearch for more papers by this author First published: 21 April 2006 https://doi.org/10.1111/j.1467-8705.2006.00686.xCitations: 1AboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat Citing Literature Volume48, Issue1Spring 2006Pages 68-79 RelatedInformation

Artist as narrator: nineteenth centrury narrative art in England and France

Artist as narrator: nineteenth centrury narrative art in England and France

Mental health and arts participation: the state of the art in England

Although participation in arts activity is believed to have important mental health and social benefits for people with mental health needs, the evidence base is currently weak. This article reports the first phase of a study intended to support the development of stronger evidence. Objectives for the first phase were to map current participatory arts activity, to identify appropriate indicators and to develop measures for use in the second phase of the research. A survey of participatory arts projects for people with mental health needs aged 16 to 65 in England, identified via the Internet and relevant organizations, was carried out to map the scale and scope of activity and to establish the nature of current approaches to evaluation. The results indicate that the scope of activity, in terms of projects' settings, referral sources, art forms and participation is impressively wide. In terms of scale, however, projects reported low funding and staffing levels that may have implications for the feasibility of routine evaluation in this field. Current approaches to evaluation were limited, but entailed considerable effort and ingenuity, suggesting that projects are keen to demonstrate their benefits. The survey has enabled us to build on the best evaluation practice identified to develop a measure for assessing the mental health, social inclusion and empowerment outcomes of arts participation for people with mental health needs. For the second phase of the study we will work with arts and mental health projects, using the measure alongside qualitative work in a realistic evaluation design, in order to identify the characteristics of effective projects.

REVIEWS

Books reviewed:Jean Fisher, Mark Diaper and John Leslie, The American WestKerry Brougher, Olivia Mattis, Jeremy Strick, Ari Wiseman and Judith Zilczer, Visual Music: Synaesthesia in Art and Music since 1900Anthony Radcliffe and Nicholas Penny, Art of the Renaissance Bronze 1500–1650. Robert H. Smith CollectionJeff Kelley, Childsplay. The art of Allan KaprowAlastair Grieve, Constructed Abstract Art in England after the Second World War: A Neglected Avant‐Garde

Constructed abstract art in England after the Second World War: a neglected avant-garde

Constructed abstract art in England after the Second World War: a neglected avant-garde

Cultural education and the canon: A comparative analysis of the content of secondary school exams for music and art in England, France, Germany, and the Netherlands, 1990–2004

Discussions about the cultural canon in the educational system relate to the debates on globalisation, the multicultural society, and the maintenance and protection of countries’ own national culture and language. In addition to cultural differences in the history of nations, it is assumed that two formal sociological characteristics—a country's size and centrality in terms of core-periphery relations—also contribute to a better understanding of the relation between culture, canon, and nationality: Large countries behave differently from small countries in the provision of education in art and music, in particular with respect to the cultural canon. The question papers on art and music of the secondary school exams in England, France, Germany, and the Netherlands were analysed over a period of 15 years (1990–2004). The presence of a cultural canon can be interpreted as the extent to which in the exam papers emphasis is put on the country's own culture or the culture of others, on the past or on the present, on high or popular culture. Content analysis of the papers showed that Germany, France, and England give the most attention to their own culture, to the culture of the past, and to high culture. Germany and France do this to a greater extent than England. The Netherlands deviates in all three respects. Unlike large countries with a strong cultural past and a dominant position in transnational cultural relations, a small country is inclined to watch and to follow the cultural centers in the world, and to emphasize and to join what is new instead of nourishing its own cultural past. National cultural values and repertoires, the cultural canon included, may be fruitfully understood as demonstrations of a core-periphery structure governing the transnational cultural exchange.

The modernist response to Chinese art: Pound, Moore, Stevens

What role did Chinese art play in the poetic development of Ezra Pound, Marianne Moore and Wallace Stevens? How could they share Chinese artists' Dao, an aesthetic held to be beyond verbal representation? In this sequel to and Modernism, Zhaoming Qian investigates the ways in which these three modernist poets received Chinese artistic notions and assimilated them into their literary masterpieces. With 40 rare and previously unpublished photographs presented with accompanying analysis, this study reconstructs the three poets' dialogue with the Chinese masters. In addition to examining Canto 49, Nine Nectarines and Six Significant Landscapes, by Pound, Moore and Stevens respectively, Qian provides additional historical and cultural material. The Modernist Response to Chinese Art pays long-overdue attention to the role of several early collections of Chinese art in England and America; it clarifies some common misconceptions about Confucianism and Daoism; it identifies in the modernist poets both linkage to and revolt against their predecessors' - and peers' - hegemonic Orientalism; and it intensifies awareness of modernist Orientalism not as a monolithic and constant conception, but as a slippery and shifting process.

Craft Education in Lower Secondary Schools in England and Japan: A comparative study

This paper compares provision for and the practice of craft education in England and Wales and Japan. Particular attention is given to craft within the National Curriculum subject of art in England and Wales and Japan at lower secondary level and to current perceptions of its educational value. Some of the key dilemmas faced by both English/Welsh and Japanese policymakers and practitioners are identified, together with cultural factors impacting on the status of craft and its successful implementation. We conclude by reflecting on the value of comparative studies of education to the research teams concerned.

Public financing of the arts in England

AbstractThe paper describes the method, amount and composition of public financing of the arts and heritage services in England during the 1990s. This offers the background to a discussion of how far the rationale for government financing for such services can rely on arguments derived from welfare economics. The presence of ‘market failure’ has been widely accepted by successive governments and their advisers, but attempts to remove it have encountered the familiar problems of ensuring allocative and technical efficiency when production subsidies are the main policy instrument. Special attention is devoted to the policy dilemmas that are likely to arise in the years ahead in the performing arts, heritage and broadcasting.

The arts in England: Developing a survey of attendance, participation and attitudes

Reliable data on attendance, participation and attitudes to the arts are needed by planners, policy makers, arts organisations, those concerned with marketing the arts and researchers. This chapter describes the development and piloting of a national survey of people's engagement with the arts by the Arts Council of England and the Office for National Statistics. It outlines the main reasons for the development of the survey, presents results from the pilot and compares them with other national and international sources of data. From the outset, procedures for obtaining feedback on the pilot questionnaire were built into the planning process. The paper discusses respondents’ reactions to the questionnaire, their views on how meaningful the questions were and how well the interview worked. It also explores respondents’ understanding of such terms as ‘the arts’ and ‘public funding’, and how they responded to questions. The chapter concludes with a summary of the changes made in the light of the pilot and outlines future plans for the survey.