Elizabeth Morrison and Thomas Kren, eds., Flemish Manuscript Painting in Context: Recent Research. Based on symposia held at the J. Paul Getty Museum, Los Angeles (September 5–6, 2003), and at the Courtauld Institute of Art, London (February 21, 2004, under the sponsorship of the Courtauld Institute and the Royal Academy of Arts), with an additional essay by Margaret Scott. Los Angeles: J. Paul Getty Museum, 2006. Paper. Pp. ix, 198; color frontispiece and many black-and-white and color figures. $60.

Speculum ◽  
2007 ◽  
Vol 82 (04) ◽  
pp. 1061-1062
Keyword(s):  
Los Angeles ◽  
Royal Academy ◽  
Black And White ◽  
Manuscript Painting ◽  
Courtauld Institute

Ensaio sobre o campo artístico contemporâneo. Johnny Rotten VS John Lydon = KO

2020 ◽  
Vol 3 (3) ◽  
pp. 120-128
Author(s):  
Ondina Pires
Keyword(s):  
Los Angeles ◽  
Public Image ◽  
Left Wing ◽  
Black And White ◽  
The United Kingdom ◽  
American President ◽  
Political Views ◽  
Sex Pistols ◽  
Points Of View ◽  
Cultural Gaps

One of the figures that stood out the most in the British punk counterculture scene, from 1976 to 1978, was the charismatic vocalist of Sex Pistols, Johnny Rotten, who shouted "Anarchy in the United Kingdom" or "There is no Future". As soon as the musical project devised by the late Malcom McLaren ended in 1978, Johnny Rotten returns to his baptismal name, John Lydon, and starts the experimental musical project Public Image Ltd, better known as PIL.Meanwhile, after about forty-one years of PIL's existence, John Lydon, residing in Los Angeles, USA, in 2020, made public his opinions about former American President Donald Trump, which were a reason for scandal and shock, especially among punk aficionados, most of whom are anti-racists and of left-wing political tendencies.Through this text and the caricatures we can observe a decadent trajectory of a musician who, apparently, is located in the antipodes of 1977. However, this turning point is legitimized by the political and cultural “gaps” of Democracy, a system that is always in danger precisely for its openness to different political views and to the continuous dialogue between ideological forces, often opposed. By using an “anarchy-fascism” dialectic, the author's points of view, based on films, songs and thinkers, evolve throughout her analysis. The aim is to open doors for broader analyzes in relation to democracy that do not contemplate the “black and white” view of the majorities in relation to current politics.

Politics in Black and White: Race and Power in Los Angeles.

1994 ◽  
Vol 81 (2) ◽  
pp. 820
Author(s):  
Albert S. Broussard ◽  
Raphael J. Sonenshein
Keyword(s):  
Los Angeles ◽  
White Race ◽  
Black And White

Migrant Media

2017 ◽  
Author(s):  
Robert Jackson
Keyword(s):  
Los Angeles ◽  
American Culture ◽  
Southern History ◽  
Black And White ◽  
History Of ◽  
Studio System ◽  
Southern Migrants ◽  
Ubiquitous Presence ◽  
Hollywood Studio System

Chapter 2 provides a history of southern migration and its impact on American culture at large. Most pointedly, black and white southern migrants to Los Angeles contributed in fundamental ways to the development of the Hollywood studio system, and the “southernization” of many of its institutions. Southern filmmakers included D. W. Griffith and many of his acolytes and younger peers. Other southerners occupied positions throughout the industry, and the enormous output of films registered southern history and culture in many ways: in the appearances of southern actors, in the presence of jazz, in films of every genre, and perhaps more than anything else in the ubiquitous presence of segregation, which the system as a whole had adopted for its own purposes.

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