His monologues are directed at highlighting the enslaving of men like Yank to machines as a result of industrialization. Long is a labor radical, and a man who views the capitalistic class as violators of individual rights. His depiction of the ship which Yank refers to as home, brings forth his perception of his social situation as being that of the lower class. He describes the ship as hell, and that all of them would die in it.
The focus of Yank on belonging is highlighted almost immediately in the opening scene of the play. Yank seems to be content about his lifestyle, his social situation notwithstanding. He is what one may call; proud to be who he is on the ship, i. He is focused on his role on the ship, and describes his efforts as the input that makes the ship run, seemingly meaning that he is a vital link in the foundation of the ship.
As such, his inclination towards belonging may be described as his personal view of power, even if he did not belong to the highest class of society. His idea of belonging is best explained by his outburst towards Long, in an effort to assert the superiority of the men in the room, to that of the dwellers of the first class cottages, and his depiction of Paddy as being too old to belong to the present.
She faints at the sight of Yank, which leads Yank to question his worth and place in society. The three poems depicted in the reading share different opinions about the outcome of society in general. Most of them seem to endorse and reflect on the fact that the depicted period in America was characterized by the social, spiritual and moral collapse of humanity, which symbolized the sorry end of a materialistic culture.
The poem titled Harlem Shadows is an exact depiction of the same. The author uses one particular gender to indicate the loose morals innate in America at the time, which echoed abject poverty, and the quest for materialistic gains.
By exposing the historical origins and congested terrain of contemporary curatorial practice, O'Neill will stir a new generation to action.
In this timely book, Paul O'Neill provides a much-needed overview of the historical development and central issues of contemporary curating. In clear, jargon-free prose he mines the curatorial literature to discuss disparate exhibition strategies and critically analyze the changing self-conception of the curator. This is a book that should be read by anyone interested in exhibitions and exhibition-making.
This book is a thorough and convincing survey of the curatorial. It covers the changing relations between the curator and the artist or art institution over the last fifty years and shows how this triangle has been crucial to the way the public perceives the possibilities of art.
It offers readers a digestible history of a phenomenon that profoundly influences our perception of art and how it is understood today. Paul O'Neill and Mick Wilson. Search Search. Search Advanced Search close Close. The Culture of Curating and the Curating of Culture s By Paul O'Neill How curating has changed art and how art has changed curating: an examination of the emergence contemporary curatorship. Add to Cart Buying Options. Request Permissions Exam copy. He also aims to define its formula from the often contradictory opinions of influential curators, artists, art theorists and historians.
In the last 25 years, the concept of curating has broadened significantly. The figure of the curator has moved from backstage to the center of art representation, assuming a role as a designer of cultural contexts in which art objects are placed.
Nowadays, curators challenge the self-sufficiency of artworks, showing them in relation to their own exhibition concepts.
The s and s were the time of an active search for new exhibition formats, and in the s the experiments of the past helped curators to obtain their new standing.
At present, the figure of independent curator is an extraordinary force, and exploration of personal themes is attracting more and more attention.
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