Inventions and industry in the art of Howard Finster

This paper examines Finster’s collection of Inventions of Mankind and his paintings of American industrial icons such as Henry Ford and Eli Whitney. Additionally, this study explores Finster’s compulsive artistic productivity and his experimentation with mechanisms designed to create self-sustaining energy. By providing a comprehensive overview of Howard Finster’s fascination with inventions and industry, this paper serves to provide new insight and dimension into the often over-generalized interpretations of his extensive body of work

Moving American progress westward images of Denver and the Rockies in popular culture

"From the 1859 gold rush through the early 1900s, popular press images linked Denver’s civic development, capitalist values and culture to the Rocky Mountains. These prints of a wilderness city sending pioneers and prospectors into the Rockies appeared in national newspapers, magazines, settlement manifestos, railroad guidebooks and tourist pamphlets. Readers were saturated with illustrations associating Denver with prosperity and rejuvenated health"-

Graveyards to Glamour : Development of Sexualized Angel Imagery in American Art and Advertising

Images of female angels in American art and advertisements have been sexualized in the late twentieth and early twenty-­‐first centuries. Companies such as Victoria’s Secret have appropriated the image of female angels, which first appeared at the beginning of the nineteenth century, and clothed them in lingerie in order to sell a product. This Masters Research Paper explores the evolution of female angelic imagery in the United States in order to understand how and when the image of angels began to be sexualized and used in advertising. Angels in art have been studied extensively; however, there has been no work done which examines how the angels in art and advertising have been sexualized. Nor has any work been done to map the evolution of female angelic imagery in American art. This Masters Research Paper will fill that gap in scholarship.

The giraffe in history and art /

Cover title.

"A joy for ever"; (and its price in the market): being the substance (with additions) of two lectures on the political economy of art, delivered at Manchester, July 10th and 13th, 1857.

Includes index.

Legends of the monastic orders, as represented in the fine arts : forming the second series of sacred and legendary art /

Mode of access: Internet.

Aesthetics in transportation : guidelines for incorporating design, art and architecture into transportation facilities : executive summary /

"Contract no. DOT-OS-90040"--P. 2 of cover.

The makers of surveying instruments in America since 1700.

On spine: American surveying instrument makers.

Calgary : a preliminary scheme for controlling the economic growth of the city /

Cover title: The city of Calgary, past, present and future, by Thomas H. Mawson & Sons.

Le temple d'Athéna Pronaia ...

Extraite de la Revue de l'art ancien et moderne, no. 19.

Transgressing community:the case of Muslims in a twenty-first-century British city

This paper draws on ethnographic research carried out in Birmingham, UK - a city significant for its sizeable Muslim population and its iconic role in the history of minority ethnic settlement in Britain - to consider how associations of place and ethnicity work in different ways to inform ideas about 'Muslim community' in twenty-first-century Britain. The paper charts happenings around a local event in an area of majority Asian settlement and how representations of the area as a place of Muslim community were used to implicate it in the 'war on terror'. The paper goes on to show how this sensibility is disrupted by Muslims themselves through alternative engagements with space and ethnicity. The paper argues that these offer a ground for making Muslim community in ways that actively engage with histories and patterns of ethnic settlement in the city rather than being determined by them.

Climate change adaptation planning under uncertainty in Ho Chi Minh City, Vietnam: a case study on institutional vulnerability, adaptive capacity and climate change governance

Climate change is expected to have wide-ranging impacts on urban areas and creates additional challenges for sustainable development. Urban areas are inextricably linked with climate change, as they are major contributors to it, while also being particularly vulnerable to its impacts. Climate change presents a new challenge to urban areas, not only because of the expected rises in temperature and sea-level, but also the current context of failure to fully address the institutional barriers preventing action to prepare for climate change, or feedbacks between urban systems and agents. Despite the importance of climate change, there are few cities in developing countries that are attempting to address these issues systematically as part of their governance and planning processes. While there is a growing literature on the risks and vulnerabilities related to climate change, as yet there is limited research on the development of institutional responses, the dissemination of relevant knowledge and evaluation of tools for practical planning responses by decision makers at the city level. This thesis questions the dominant assumptions about the capacity of institutions and potential of adaptive planning. It argues that achieving a balance between climate change impacts and local government decision-making capacity is a vital for successful adaptation to the impacts of climate change. Urban spatial planning and wider environmental planning not only play a major role in reducing/mitigating risks but also have a key role in adapting to uncertainty in over future risk. The research focuses on a single province - the biggest city in Vietnam - Ho Chi Minh City - as the principal case study to explore this argument, by examining the linkages between urban planning systems, the structures of governance, and climate change adaptation planning. In conclusion it proposes a specific framework to offer insights into some of the more practical considerations, and the approach emphasises the importance of vertical and horizontal coordination in governance and urban planning.

Fieldworks from the Museum of the Void: Experiments in the Event of an Archive

This exhibition was a research presentation of works made at Center for Land Use Interpretation [CLUI]base in Wendover, Utah, USA between 2008-2010. The project was commissioned by the Centre For Land Interpretation in USA and funded by The Henry Moore Foundation in the UK. Documentation of research conducted in the field as made available as video and installation. An experimental discourse on the preservation of land art was put with GPS drawings and research information displayed as maps and documents. In examining physical sites in Utah, USA, the project connected to contemporary discourse centred on archives in relation to land art and land use. Using experimental processes conceived in relation to key concepts such as event structures and entropy, conceptual frameworks developed by Robert Smithson (USA) and John Latham (UK), the 'death drive' of the archive was examined in the context of a cultural impulse to preserve iconic works. The work took items from Lathams archive and placed them at the canonical 'Spiral Jetty', Smithson land art work at Rozel Point north of Salt Lake City. This became a focus for the project that also highlighted the role of the Getty Foundation in documenting major public artworks and CLUI in creating an American Land Museum. Work was created in the field at extreme remote locations using GPS technologies and visual tools were developed to articulate the concepts of the artists discussed, to engage the exhibition audience in ideas of transformation and entropy in art. Audiences were encouraged to sign a petition to be used in future preservation of spiral jetty currently facing development challenges.

On the integration of Argentinian activist art at exhibition venues

This article examines the institutional integration of activist art in the aftermath of the 2001 economic crisis in Argentina. Following this aim, we begin with a description of the most significant new groups of activist art in the City of Buenos Aires. Then, we elaborate the position these new groups take up in the field with respect to their dispute with the “light art��� from the 90s, and in relation to the mutual accusations over the “trend” of political art. Finally, we analyse the reception of these groups of activist art in art exhibitions in the City of Buenos Aires and abroad, and we reflect upon the institutionalization of these specific and situated aesthetic and political practices.