House of Beauty and Culture: Remembering Radical Creativity | AnOtherA Post-Punk Resistance The collective was formed as a post-punk resistance to normative mass culture, favouring a salvaged, dystopian aesthetic and radical, crafty process during a Thatcherite government that prized privatisation and the fragmentation of society. They all grew up idolising Bowie and Bolan, as well as Waters and Westwood, which informed their do-it-yourself attitude and provocative, often ironic humour. Maciejowska interviewed Macdonald, Blame, Baby, Torry, Palmano, Lebon, Hinton, Jones, as well as Susan Bartsch, who represented the designers in her Manhattan boutique and briefly held a showroom her Chelsea Hotel apartment, where Janis Joplin happened to live next door. The transcripts are included in the book, alongside essays that explore the work produced by these creatives and the radical design of the space itself, as well as the cultural bricolage of the East End, the post-punk approach to subcultural identification and the bacchanalian hedonism that acted as a glittering backdrop, offering utopic ecstasy in dystopian London. Fric and Frack created the interior of the shop and made furniture, which would sometimes be taken to Dave Baby who would carve phalluses, demons or swastikas reappropriated as a means of subversion into them. The shop itself was a melting pot of these influences and aesthetics, much like the works on display.
The Beauty House by Colombian author Melba Escobar
The House of Beauty and Culture
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Africans have a big and rich diversity of cultures, beliefs, languages and ways of life. From this background the conception of beauty is not uniform throughout the continent. Two big parameters can be used as a bridge and offer a unified perspective: the different relevance given to external and internal beauty. A hard-working young girl, who is less beautiful outside, could be married faster than a beautiful girl considered by the community as lazy. So physical strength resulting in hard work comes first and external beauty second. To be seen as hard-working, the woman must be healthy and physically strong, fit to manage a home environment and endure labour pain.
Publisher: Institute of Contemporary Art Year: Format: Paperback Edition: First - OOP Condition: New Published to coincide with the ICA exhibition Judy.
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Since its original publication in , Beauty and Culture has remained the only full-length major book contribution to the area of philosophy of art and aesthetics by an African philosopher. This is an area which has had very little or no critical systematic philosophical discussion from an African and African Diaspora perspective to date, either by African or African Diaspora thinkers or, for that matter, by non-African philosophers and intellectuals, leaving the assessment and discussion of African and Diaspora art and artistic experience to Euro-American intellectuals with scant or warped understanding of the sensitivities and sensibilities that under-gird the art they are commenting on. This book which harks back to the ideas of values relating to the concept of beauty in Africana art and aesthetics globally—starting from ancient Africa, the Americas to Europe and to Asia—is predicated on the fact that there is a need for Africana peoples to begin to take a closer look at aesthetics from the Africana perspective or whatever is left of it; especially, the relationship this has to notions of morality, politics, religion, and culture generally. Over the last decade there has grown recognition of the importance of taking African aesthetics into consideration on its own terms, but the nature of the issues discussed in this book has made it necessary to provide non-philosophers a background introduction to the challenge of African philosophy of art. This accounts for the careful effort made in the first three chapters Introduction, Biographical Details, and The Nature of the Philosophic Enterprise: Initial Issues to introduce the readers interested in Africana aesthetics, to the rudiments of debates in African philosophy and the nature of scholarship in the discipline, using the experience of the author as illustration. The fourth chapter Contemporary Scholarship on Africana Arts reviews the discussion of African art in extant literature, while in chapter five Artistic Expression in Africa the author explores the nature of art and artistic expression in Africana societies; and chapter six Philosophy and Artistic Expression in Africa deals with the problematic of philosophizing the arts and values relating to artistic expression in Africana societies, with chapter seven Arts, Memory and Identity considering the critical issues involved in the relationship between art, memory, culture and identity structuring and development in all human societies, but especially in Africana societies. The last chapter Conclusion harnesses the inferences of this book, indicating further the challenges which Africana philosophers face in the proper appreciation of Africa and Diaspora art.
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