In search of a language textile and text in contemporary women's art

This research uses the textile/text axis concept as a conceptual tool to investigate the role of textile and text in contemporary women’s art practice and theorizing, investigating textile as a largely hitherto unacknowledged element in women’s art practice of the late 20th and early 21st centuries. Textile and text share a common etymological root, from the Latin textere to weave, textus a fabric. The thesis illuminates the pathways whereby textile and text played an important role in women reclaiming a speaking voice as creators of culture and signification during a revolutionary period of renewal in women’s cultural contribution and positioning. The methodological approach used in the research consisted of a comprehensive literature review, the compilation of an inventory of relevant women artists, developing a classificatory system differentiating types of approaches, concerns and concepts underpinning women’s art practice vis a vis the textile/text axis and a series of three in-depth case studies of artists Tracey Emin, Louise Bourgeois and Faith Ringgold. The thesis points to the fact that contemporary women artists and theorists have rounded their art practice and aesthetic discourse in textile as prime visual metaphor and signifier, turning towards the ancient language of textile not merely to reclaim a speaking voice but to occupy a ground breaking locus of signification and representation in contemporary culture. The textile/text axis facilitated women artists in powerfully countering a culturally inscribed status of Lacanian ‘no-woman’ (a position of abjection, absence and lack in the phallocentric symbolic). Turning towards a language of aeons, textile as fertile wellspring, the thesis identifies the methodologies and strategies whereby women artists have inserted their webs of subjectivities and deepest concerns into the records and discourses of contemporary culture. Presenting an anatomy of the textile/text axis, the thesis identifies nine component elements manifesting in contemporary women’s aesthetic practice and discourse. In this cultural renaissance, the textile/text axis, the thesis suggests, served as a complex lexicon, a system of labyrinthine references and signification, a site of layered meanings and ambiguities, a body proxy and a corporeal cartography, facilitating a revolution in women’s aesthetic praxis.

The giraffe in history and art / by Berthold Laufer, Curator of Anthropology. 9 plates in photogravure, 23 text-figures, and 1 vignette.

no.27(1928)

Le Christ au miroir de la photographie contemporaine (1981-2011)

Depuis une trentaine d'années, les représentations de la figure de Jésus se sont multipliées en photographie. De la séquence narrative du photographe américain Duane Michals (Christ in New York, 1981) au chemin de croix de Wim Delvoye (Viae Crucis, 2006), en passant par la série I.N.R.I. (1997-98) de Bettina Rheims, les Photographies apocryphes (1994-98) d'Olivier Christinat, les Seven Bible Scenes (1998) de Rauf Mamedov, Ecce homo (1996-98) d'Elisabeth Ohlson, Jesus is my Homeboy (2003) de David LaChapelle ou encore South Soudan (2006) de Vanessa Beecroft, l'intérêt pour la figure christique dans le champ profane est incontestable. Le phénomène dépasse d'ailleurs les frontières géographiques, culturelles et confessionnelles.¦Cette thèse de doctorat réunit un important fonds iconographique qui démontre l'intérêt actuel pour la figure du Christ et la grande diversité des démarches et des profils des artistes. Cet important corpus est analysé selon trois perspectives. La première partie est consacrée au médium photographique, à ses liens étroits avec la sainte Face depuis le cliché du suaire de Turin en 1898, et depuis l'ambitieux projet photographique (1898) de Fred Holland Day qui incame le Christ dans ses nombreuses réinterprétations de la vie de Jésus.¦La deuxième partie de ce travail interroge l'emploi des formules iconographiques chrétiennes archétypales et questionne les références christiques utilisées par les artistes au travers de poses, d'attitudes, de gestes repris de chefs-d'oeuvre de l'art religieux, tant dans le domaine de la photographie d'art que dans la publicité ou la photographie de presse. L'usage du texte, la place des Ecritures dans les projets actuels sont aussi abordés, notamment autour de la question de la possibilité de raconter la vie de Jésus et des stratégies de mises en scène employées pour traduire les récits en images.¦Enfin, la dernière partie porte plus particulièrement sur les usages de la figure de Jésus, souvent alter ego de l'artiste, mais surtout porte-parole. À la suite des luttes socio- politiques des années 1970, la figure de Jésus est réinvestie par les minorités et Jésus incarne alors les combats d'artistes qui se réapproprient la représentation du Christ pour qu'elle corresponde à l'image qu'ils voient dans leur propre miroir (ex. Renee Cox, Yo Mama's Last Supper, 1996). Cet usage revendicateur, souvent doublé d'un goût non dissimulé pour la provocation (ex. Andres Serrano, Piss Christ, 1987), a souvent suscité la polémique. La question de la réception des oeuvres constitue un point essentiel de cette recherche qui tâche d'analyser la figure christique au miroir de la photographie contemporaine et qui conclut que le Christ est en réalité miroir des artistes eux-mêmes.

Literature and Mythology in Tennessee Williams's "Suddenly Last Summer": Fighting against Venus and Oedipus

The aim of this article is to analyze accurately the role played by two classical references, Venus and Oedipus, in Tennessee Williams Suddenly Last Summer, in accordance with the usual nature of studies on Classical Tradition a Greek and Roman- and focusing in this case on the relationship between literature and mythology. It is thanks to Venus and Oedipus that the playwright succeeds in showing the magnitude of mens and womens tragedy, which from his point of view is simply that they have failed to see either kindness in the face of God or to feel his loving and fatherly providence.

La mise en exposition des œuvres d'art spoliées par les nazis : étude de cas de l'exposition de la collection de Jacques Goudstikker

Pour respecter les droits d'auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audiovisuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

La réception des expositions d'art engagé à la fin du XXe siècle au Québec : entre reconnaissance et institutionnalisation

L’objectif de ce mémoire est de comprendre comment s’articule la réception d’expositions socialement engagées dans un contexte muséal contemporain et québécois. Afin de mener à bien cette recherche, deux études de cas seront analysées : Art et féminisme (1982) et Pour la suite du Monde (1992). Comme l’exercice du mémoire commande un développement restreint, nous avons sélectionné des manifestations qui se sont déroulées dans une seule institution, le Musée d’art contemporain de Montréal. Avant d’aborder directement le phénomène de réception et afin de bien cerner le contexte artistique et théorique des années 80 et 90, le premier chapitre sera consacré aux différentes théories et pratiques de l’exposition, telles que développées au cours de cette période. Ainsi, nous parcourrons des théories relatives à l’exposition d’art et à son commissariat de Jérôme Glicenstein, Mieke Bal, Yves Michaud, Nathalie Heinich et Michel Pollak ainsi que Daniel Buren. Ensuite, les deuxième et troisième chapitres seront exclusivement voués à Art et féminisme et Pour la suite du Monde. Outre l’examen de leur réception, nous décrirons leur contexte de mise sur pied, et ce, tant du point de vue conceptuel que sociohistorique. Le but de cet exercice sera de bien comprendre comment s’énonce le propos d’une exposition lorsqu’il est lié de près à sa réalité politique, culturelle et institutionnelle.

[Ressenya del llibre The Desert is no lady: southwestern landscapes in women's writing and art, de Vera Norwood i Janice Monk (ed.)]

Ressenya del llibre The Desert is no lady: southwestern landscapes in women's writing and art, obra on s’interrelacionen tres temes que són paisatge, gènere (en aquest cas, la dona) i literatura (i, per extensió, un quart que és l’art)

Distribution of diatom communities in agricultural and mining watersheds of Southwest Spain

Els sistemes aquàtics continental representen un dels ecosistemes més amenaçats a nivell mundial, com a conseqüència de l'ús intensiu quel'home en fa. La conca del Guadiana no està lliure d'aquestes pressions antròpiques. Les grans infraestructures hidràuliques i l'escorrentia provinent de l'agricultura són només exemples dels greus problemes que pateix la conca. Aquests problemes es fan especialment palesos en la zona alta de la conca, on l'escassetat d'aigua no fa més que agreujar el problema.Tot això ha generat la necessitat urgent d'avaluar l'estat de conservació d'aquests ecosistemes aquàtics continentals, poder determinar la mesura i la magnitud de les pertorbacions que els estan afectant i així proposar mesures de gestió destinades a restaurar-ne la integritat ecològica. El principal objectiu que presenta aquest és determinar els patrons de distribució de les comunitats de algals (amb una menció especial en el grup de les diatomees) i de les seves causes en la conca del Guadiana i associades, amb la finalitat d'establir i proposar eines que permetin avaluar l'estat de conservació de les masses d'aigua d'aquestes conques.

Rethinking 'Inside the Visible'

This essay appears in the first book to examine feminist curatorship in the last 40 years. It undertakes an extended reading of Cathy de Zegher's influential exhibition, Inside the Visible, An Elliptical Traverse of 20th Century Art. In, of and From the Feminine (1995) which proposed that modern art should be understood through cyclical shifts involving the constant reinvention of artistic method and identified four key moments in 20th century history to structure its project. The essay analyses Inside the Visible's concept of an elliptical traverse to raise questions about repetitions and recurrences in feminist exhibitions of the early 1980s, the mid 1990s and 2007 asking whether and in what ways questions of feminist curating have been continuously repeated and reinvented. The essay argues that Inside the Visible was a key project in second wave feminism and exemplified debates about women's time, first theorised by Julia Kristeva. It concludes, however, that 'women's time' has had its moment, and new conceptions of feminism and its history are needed if feminist curating is not endlessly to recycle its past. The essay informs a wider collaborative project on the sexual politics of violence, feminism and contemporary art, in collaboration with Edinburgh and one of the editors of this collection.

Catalog of Paintings Exhibited in the Colby College Art Museum May 8 -22- 1974

This catalog describes paintings by the author, completed as his Senior Scholar Project in art and exhibited in the Colby College Art Museum. Images of the paintings are not available.

Hepatic gluconeogenesis in rats trained to eat a single meal daily. Role of eating periodicity and the amount of food ingested in the last meal

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Percorsi di gender performance: fotografia tra arte e moda dagli anni Novanta ad oggi

My project explores and compares different forms of gender performance in contemporary art and visual culture according to a perspective centered on photography. Thanks to its attesting power this medium can work as a ready-made. In fact during the 20th century it played a key role in the cultural emancipation of the body which (using a Michel Foucault’s expression) has now become «the zero point of the world». Through performance the body proves to be a living material of expression and communication while photography ensures the recording of any ephemeral event that happens in time and space. My questioning approach considers the gender constructed imagery from the 1990s to the present in order to investigate how photography’s strong aura of realism promotes and allows fantasies of transformation. The contemporary fascination with gender (especially for art and fashion) represents a crucial issue in the global context of postmodernity and is manifested in a variety of visual media, from photography to video and film. Moreover the internet along with its digital transmission of images has deeply affected our world (from culture to everyday life) leading to a postmodern preference for performativity over the more traditional and linear forms of narrativity. As a consequence individual borders get redefined by the skin itself which (dissected through instant vision) turns into a ductile material of mutation and hybridation in the service of identity. My critical assumptions are taken from the most relevant changes occurred in philosophy during the last two decades as a result of the contributions by Jacques Lacan, Michel Foucault, Jacques Derrida, Gilles Deleuze who developed a cross-disciplinary and comparative approach to interpret the crisis of modernity. They have profoundly influenced feminist studies so that the category of gender has been reassessed in contrast with sex (as a biological connotation) and in relation to history, culture, society. The ideal starting point of my research is the year 1990. I chose it as the approximate historical moment when the intersection of race, class and gender were placed at the forefront of international artistic production concerned with identity, diversity and globalization. Such issues had been explored throughout the 1970s but it was only from the mid-1980s onward that they began to be articulated more consistently. Published in 1990, the book "Gender trouble: feminism and the subversion of identity" by Judith Butler marked an important breakthrough by linking gender to performance as well as investigating the intricate connections between theory and practice, embodiment and representation. It inspired subsequent research in a variety of disciplines, art history included. In the same year Teresa de Lauretis launched the definition of queer theory to challenge the academic perspective in gay and lesbian studies. In the meantime the rise of Third Wave Feminism in the US introduced a racially and sexually inclusive vision over the global situation in order to reflect on subjectivity, new technologies and popular culture in connection with gender representation. These conceptual tools have enabled prolific readings of contemporary cultural production whether fine arts or mass media. After discussing the appropriate framework of my project and taking into account the postmodern globalization of the visual, I have turned to photography to map gender representation both in art and in fashion. Therefore I have been creating an archive of images around specific topics. I decided to include fashion photography because in the 1990s this genre moved away from the paradigm of an idealized and classical beauty toward a new vernacular allied with lifestyles, art practices, pop and youth culture; as one might expect the dominant narrative modes in fashion photography are now mainly influenced by cinema and snapshot. These strategies originate story lines and interrupted narratives using models’ performance to convey a particular imagery where identity issues emerge as an essential part of fashion spectacle. Focusing on the intersections of gender identities with socially and culturally produced identities, my approach intends to underline how the fashion world has turned to current trends in art photography and in some case turned to the artists themselves. The growing fluidity of the categories that distinguish art from fashion photography represents a particularly fruitful moment of visual exchange. Varying over time the dialogue between these two fields has always been vital; nowadays it can be studied as a result of this close relationship between contemporary art world and consumer culture. Due to the saturation of postmodern imagery the feedback between art and fashion has become much more immediate and then increasingly significant for anyone who wants to investigate the construction of gender identity through performance. In addition to that a lot of magazines founded in the 1990s bridged the worlds of art and fashion because some of their designers and even editors were art-school graduates encouraging innovation. The inclusion of art within such magazines aimed at validating them as a form of art in themselves supporting a dynamic intersection for music, fashion, design and youth culture: an intersection that also contributed to create and spread different gender stereotypes. This general interest in fashion produced many exhibitions of and about fashion itself at major international venues such as the Victoria and Albert Museum in London, the Metropolitan Museum of Art and the Solomon R. Guggenheim Museum in New York. Since then this celebrated success of fashion has been regarded as a typical element of postmodern culture. Owing to that I have also based my analysis on some important exhibitions dealing with gender performance like "Féminin-Masculin" at the Centre Pompidou of Paris (1995), "Rrose is a Rrose is a Rrose. Gender performance in photography" at the Solomon R. Guggenheim Museum of New York (1997), "Global Feminisms" at the Brooklyn Museum (2007), "Female Trouble" at the Pinakothek der Moderne in München together with the workshops dedicated to "Performance: gender and identity" in June 2005 at the Tate Modern of London. Since 2003 in Italy we have had Gender Bender - an international festival held annually in Bologna - to explore the gender imagery stemming from contemporary culture. In few days this festival offers a series of events ranging from visual arts, performance, cinema, literature to conferences and music. Being aware that any method of research is neither race nor gender neutral I have traced these critical paths to question gender identity in a multicultural perspective taking account of the political implications too. In fact, if visibility may be equated with exposure, we can also read these images as points of intersection of visibility with social power. Since gender assignations rely so heavily on the visual, the postmodern dismantling of gender certainty through performance has wide-ranging effects that need to be analyzed. In some sense this practice can even contest the dominance of visual within postmodernism. My visual map in contemporary art and fashion photography includes artists like Nan Goldin, Cindy Sherman, Hellen van Meene, Rineke Dijkstra, Ed Templeton, Ryan McGinley, Anne Daems, Miwa Yanagi, Tracey Moffat, Catherine Opie, Tomoko Sawada, Vanessa Beecroft, Yasumasa Morimura, Collier Schorr among others.

Evolution of the sexual reproduction in Veronica (Plantaginaceae) : phylogeny, phylogeography and invasion

Die geschlechtliche Fortpflanzung ist ein universelles Merkmal und erlaubt es genetische Variation innerhalb von Blütenpflanzen zu schaffen. Die Evolution der sexuellen und reproduktiven Systeme wurde hier auf mehreren zeitlichen Ebenen, in verschiedenen Arten von Lebensraum studiert und mit fast allen möglichen Methoden im Labor, im Gewächshaus sowie im Feld untersucht. Drei Hauptteile sind in dieser Arbeit enthalten und entsprechen jeweils einem unterschiedlichen Niveau der Zeit: Gattung, Untergattung und Arten. Der erste Teil zeigt, dass die PO-Verhältnisse Untersuchungen systematisch in jeder Pflanzen-Gattung oder Untergattung untersucht werden müssen. Dieses güngstige, schnelle und leistungsstarke Werkzeug kann eine Vielzahl von Informationen über die Modi der Pflanzenreproduktion produzieren, ohne die Verwendung von teuren und langen Experimenten. Darüber hinaus könnte diese Maßnahme auch ergänzende Daten über die Taxonomie dieser untersuchten Gruppen geben. Das zweite Kapitel befasst sich mehr mit der Taxonomie der Ehrenpreis(Veronica)-Arten als die beiden anderen und zeigt, dass verschiedene Ereignisse der interspezifischen Reproduktion in einem der Hotspots der Artenvielfalt in Europa (der Balkan-Halbinsel) auftreten. Die Ergebnisse zeigen, dass morphologische und genetische Daten inkongruent sind und die Analyse der Taxonomie dieser Arten oder Unterart schwierig ist. Das letzteKapitel erzählt die Geschichte einer erfolgreichen Invasion, die während des letzten Jahrhunderts in Europa ablief trotz der Tatsache, dass die Arten obligate Fremdbefruchter sind und dass keine Samen-Produktion in der Region beobachtet wurde. Dieses Manuskript erläutert den Weg der Pflanze, um die “Baker-Regel“ zu umgehen. Diese Regel besagt, dass selbst-inkompatible Arten erfolgloser bei der Invasion neuer Lebensräume sind. Dennoch schafft es die hier untersuchte Art einen großen Teil der europäischen Rasen zu bevölkern und zeigt dabei genetische und morphologische Veränderungen auf diesem Weg.rnSchließlich wird in diesen drei verschiedenen Papieren versucht, die Verbindung zwischen der Mikro-und Makroevolution in der geschlechtlichen Fortpflanzun in Ehrenpreis (Veronica) unter Betracht verschiedener sexueller Systeme und der Stammesgeschichte, sowie der Migration zu klären.

Servizi offerti su spazi demaniali in concessione e diritto dell'Unione Europea

La tesi analizza, sotto vari aspetti del diritto dell’Unione Europea, i servizi che sono offerti su spazi demaniali. Si articola in quattro capitoli: Il primo capitolo ricostruisce, valutandone l’impatto sui servizi che sono oggetto della presente indagine, lo sviluppo giurisprudenziale della Libertà di Stabilimento e della Libera Prestazione di Servizi, analizzando, altresì, i principi generali e l’art.16 della Carta dei Diritti Fondamentali dell’Unione. Il secondo capitolo è, invece, dedicato al diritto secondario, ossia alla Direttiva 2006/123/CE, alle Direttive “Appalti” e alla Direttiva “Concessioni”. La prima, che nulla aggiunge al quadro normativo trattato nel primo capitolo, svolge, pertanto una vera e propria funzione appaltante e concessoria. Le seconde, invece, seppur non applicabili alle fattispecie ivi esaminate, restano utili per comprendere quale declinazione possano avere i principi di eguaglianza, di non discriminazione, di trasparenza, di pubblicità e di concorrenza nella regolazione dei servizi offerti su spazi demaniali. La terza, invece, in quanto a rilevanza, presenta alcuni punti critici che fanno propendere per una sua non applicabilità. Resta comunque utile sempre in materia di principi, i quali, come evidenziato nell’ultima parte del secondo capitolo, sono stati utilizzati dalla Corte di Giustizia, pur nella totale assenza, fino alla recente direttiva, di strumenti di diritto secondario applicabili alle concessioni. Il terzo capitolo, invece, affronta le problematiche emerse all’interno dell’ordinamento italiano e attua una comparazione tra il sistema italiano e quello portoghese, croato, francese, spagnolo. Il quarto capitolo, da ultimo, prende in considerazione il delicato equilibrio, sempre più attuale, tra principi in materia di appalti pubblici e aiuti di Stato, valutando come, sia il permanere dello status quo, sia un riordino non conforme alla Direttiva 2006/123/CE e ai principi da essa richiamati possa costituire un aiuto di Stato incompatibile con il mercato interno.

The causal effect of switching to second-line ART in programmes without access to routine viral load monitoring

We examined the effect of switching to second-line antiretroviral therapy (ART) on mortality in patients who experienced immunological failure in ART programmes without access to routine viral load monitoring in sub-Saharan Africa.