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What knowledge is transported through the material of sculpture? This chapter looks at butter sculpture, inquiring why butter was used at different times in different contexts and what particular message its use conveyed. It focuses on the long nineteenth century when butter went from being a homemade product to a highly industrialized one, and thus moved from the female domestic sphere to the male sphere of factories and industry. The chapter explores various works of art history—notably, Antonio Canova’s Butter Lion and Caroline Shawk Brooks’ Dreaming Iolanthe—and discusses intersections between art history and technological developments of the time. Brooks, for example, was not only well-versed in artistic self-promotion but also invented new methods of making and cooling her butter sculptures.
Journal of Historical Geography, 2013
Art Journal 72, no. 4 , 2013
Studies of "immaterial" labor often ignore the role of the body and gender in contemporary forms of work. Isa Genzken's recent anthropomorphic sculptures focus artistic critique back onto the body and the feminization of work in Post-Fordist labor. This study departs from conventional readings of Genzken's assemblage sculptures as epistemic of the body's total submission to the commodity object. Rather, this essay argues that Genzken invokes a specifically gendered post-Foridst body and viewing consumer subject. Contrary to our presumed passive surrender to the Culture Industry, Genzken chooses to explore new ways for the body to redefine the terms of its objectification and viewers' means of constructing identity from commodity objects that is both performative and an extremely productive action.
2008
http://www.19thc-artworldwide.org/autumn08/90-the-invisible-sculpteuse-sculptures-by-women-in-the-nineteenth-century-urban-public-spacelondon-paris-brussels
Food Studies, An Interdisciplinary Journal, 2014
In the years of the Economic Miracle in Italy (1958–63), popular magazines, advertisements, and cookbooks mostly portrayed adult women as housewives and mothers, whose primary responsibility was feeding the family. Images of women in the kitchen were ubiquitous in the visual culture of the late 1950s and early 1960s, which often represented them as caught between tradition and modernity. Trendy magazine columns, images printed on the packages displayed in supermarkets or neighborhood stores, as well as traditional social habits asked women to allow an external model to shape their behavior in the domestic realm. Creativity was hardly presented as a quality of the ideal woman before a seminal marketing campaign promoted by Barilla in 1964. However, female consumers were not always passive followers of the guidelines delineated by others. Looking at the use of the historic cookbooks owned by the Biblioteca Gastronomica Academia Barilla in Parma, Italy, gives us a hint of the independence with which at least some female consumers related to standardized messages, partially resisting them even before gender equality become an open battle in the mid-1960s. This resistance reflects religious, political and social values, which competed with the rise of consumerism. Keywords: Modern Italy, Industrial Food, Recipe Books, Gender Identity, Resistance, Visual Culture
Convenors: Claire Jones, University of Birmingham and Imogen Hart, University of California, Berkeley. The history of sculpture has largely been written with an emphasis on free-standing, monumental, figurative, single-authored works created by named sculptors, primarily in bronze, marble and plaster. Decorative arts scholarship has been predominantly concerned with works created by named manufacturers, and with the impact of industrialisation on craft and related issues around mass production, taste, labour and commerce. Yet cross-fertilisations between sculpture and the decorative have played a vital role in the formal practices and aesthetics of art production, bringing sculptors into contact with diverse makers, materials, techniques, forms, colours, ornament, scales, styles, patrons, audiences and subject matter, to produce composite, multi-material, quasi-functional and multi-authored objects. This session will explore the decorative as a historically fertile, parallel and contested field of sculptural production. We invite proposals that address affinities between sculpture and the decorative in any culture or period from the Middle Ages to the present day, and which explore the cross-disciplinary connections between the institutional, biographical, conceptual, visual, material and professional histories of the two fields. Topics might include artistic autonomy and creativity; the fragment and the composite work; figuration and relief; the hierarchy of the arts; copyright and authorship; originality and reproduction; and the languages and histories of making and materials. We also welcome papers that examine sculpture and the decorative in relation to the racialization, nationalisation and gendering of the practices of art, craft and manufacturing. Click here to download a .pdf of this session's paper abstracts Martina Droth (Yale Center for British Art) Common Grounds of Making: Modelling for sculpture and decorative art in 19th-century Britain Amy F Ogata (University of Southern California) Aluminium Orfèvrerie and Second Empire France Margit Thøfner (University of East Anglia) Resonant Tendrils and Furtive Grimaces: The role of ornament in Abel Schrøder’s altarpiece for the church of Skt Morten, Næstved Emmelyn Butterfield-Rosen (Metropolitan Museum of Art) Beethoven’s Farewell: Klinger’s Beethoven-Denkmal ’in the claws of the Secession’ Conor Lucey (Trinity College Dublin) 18th-Century Property Speculation and the Sculptural Interior Anna Ferrari (Victoria and Albert Museum) Beyond the Studio in Interwar Paris: Henri Laurens with Robert Mallet-Stevens, Le Corbusier and Jean-Michel Frank Nina Lübbren (Anglia Ruskin University) Renée Sintenis, Milly Steger and German Sculpture, 1910–33 Angela Hesson (University of Melbourne/National Gallery of Victoria) Sirens on the Sideboard: Fantasy and function in Art Nouveau
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