#social-realism — Public Fediverse posts

Your art history post for today: by Reginald Marsh (1898-1954), “500,000 Czechs on Nazi Front,” 1938, tempera on masonite, 24 x 18 in. (61 x 45.7 cm.), photo: Christie’s New York, 23 May 2013. #arthistory #painting #WPA #socialrealism

Context: in 1938, Germany annexed Austria. Taking over the northern part of Czechoslovakia (known as the Sudetenland) was Hitler’s next priority. The leaders of Britain, Italy, France, and Germany met in Munich to discuss the issue September 29-30, 1938. They pointedly did not include leaders of Czechoslovakia in the meeting.

The Allies agreed in that meeting to German annexation of the Sudetenland in exchange for Germany’s pledge of peace. This agreement is known as the Munich Pact.

And we all know how much a Nazi pledge of peace turned out to be worth. Never take a dictator at his word. Not then, not today.

@noelreports watching junkies fight in public on social media. 🍿😎🙈

I'm glad they don't have any children together.

#Trump #Musk #SocialRealism

"The Fire," David Alfaro Siqueiros, 1939.

Siqueiros (1896-1974) was a Mexican social realist painter, known mostly for his murals.

However, what we have here isn't Social Realism, but an experimental Abstract painting. He was known before then mostly for representational landscapes and portraits, or symbolic-yet-still-realistic political scenes. In his 1939 exhibition at the Matisse Gallery in NYC, he presented art done with new equipment and techniques. This was done with an airbrush, with stencils, in a pyroxylin lacquer now used in such things as nail polish, photography, and magicians' flash paper. He specifically used Duco, an automotive lacquer, for his Matisse show.

As it became shiny and inflexible, it looked cool, but as this was done on paper, it was quite fragile, and now is mounted on a rubber backing.

Siqueiros had an eventful life; an avowed Communist, he fought in the Spanish Civil War, was a muralist for the Obregon government in Mexico, was involved in an attempted assassination of Leon Trotsky, worked in the US and Cuba.....while some say his artistic work was interrupted by his political activity, he viewed them as one and the same.

From the Museo Blaisten, Ciudad de Mexico.

#Art #MexicanArt #DavidAlfaroSiqueiros #AbstractArt #SocialRealism

Para sa mga kaugnay na ulat ng @bayanmoipatrolmo: https://news.abs-cbn.com/bmpm

ArtPatrol
#SocialRealism
#Art
#CamarinesSur

Bida ang kwento ng mga ordinaryong Pinoy sa social realism artworks ni Bayan Patroller Nick Valenzuela.

#ArtPatrol
#SocialRealism
#Art
#CamarinesSur

Following our recent symposium we are inviting short blog posts (750-1500 words) reflecting on the intellectual legacy of Margaret Archer. These will be published on the Critical Realism Network blog. Here are some examples of themes these posts could address:

1. Archer’s Place in Sociological Theory:  the ways in which Archer’s ideas have been received, challenged, and transformed within the discipline. 
2. Archer’s Work within the Larger Dialogues of Critical Realism: the ways in which Archer’s ideas have contributed to and challenged the critical realist tradition. 
3. The Global Reception of Archer’s Work: the ways in which Archer’s ideas have been received, interpreted and adapted in different places. We want to explore both Archer’s role in the internationalization of British sociology, as well as the reception of her work in different countries of the Global North and Global South.
4. Archer’s Work Beyond Critical Realism: the ways in which Archer’s work has been influenced by and has influenced traditions, debates and issues beyond critical realism, such as pragmatism, moral philosophy and the philosophy of science.

We welcome submissions from scholars at all stages of their careers, including graduate students and early-career researchers. We also encourage interdisciplinary perspectives and contributions from scholars working in related fields, such as philosophy, anthropology, and political science.

If you’re interested in submitting a post, please contact Mark Carrigan with your idea initially.

https://markcarrigan.net/2024/08/08/%f0%9f%93%8dcall-for-blog-posts-the-legacy-of-margaret-archer/

#criticalRealism #margaretArcher #MorphogeneticApproach #socialMorphogenesis #socialRealism

August 3rd, 10am-5pm at the University of Warwick

Margaret Archer’s work has had a profound impact on social theory, challenging and reshaping our understanding of agency, structure, culture and their interplay in producing social change. Her contributions to the discipline have been wide-ranging, from critical interventions in conceptual debates to discussions about the nature of our times. Archer’s engagements with other thinkers, both within and outside the critical realist tradition, have shaped contemporary sociological debates.

Karim Knio – The Immanent Causality Morphogenetic Approach (TBC)

Juan David Parra – Archer’s Morphogenesis and the Political Economy of Education Systems

Krzysztof Wielecki – The presence of Margaret Scotford Archer in Polish sociology

Lakshman Wimalasena – Reflexivity in Practice: Advancing the Working Experience through a Reflexive [Co-Design] Intervention

Richard Remelie – Measuring reflexivity

Ka Lok Yip – Archerian Realism and Phenomenology: Friends or Foes?

Anzhela Popyk – Structure and Agency: Transnational and School Transitions of Ukrainian Forced Migrant Adolescents in Poland

Catherine Hastings – Developing critical realist empirical research using Archer’s explanatory framework

https://markcarrigan.net/2024/07/18/%f0%9f%93%8djoin-us-on-august-3rd-to-celebrate-the-intellectual-legacy-of-margaret-archer/

#criticalRealism #margaretArcher #MorphogeneticApproach #socialRealism

A taste of the amazing room full of Diego Rivera murals at the Detroit Institute of Art.

#MuralMonday #Mural #Art #Detroit #SocialRealism

He was a Social Realist at a time when the world was going abstract, yet he continued to suggest the enormous emotion of his subjects, saying, "I want to castigate the things I hate and paint monuments to what I feel is noble." Social commentary remained the backbone of his art.
'Man with Sprite,' Joseph Hirsch (1910-1981), ca. 1950 (I prefer to call it 'Enlightenment.') Private collection.
#artcollector #socialrealism #realism #artgallery #artmuseum #arthistory #potterdayart #modernart

Edsel B. Ford, 1932 #diegorivera #socialrealism https://www.wikiart.org/en/diego-rivera/edsel-b-ford-1932

The Outskirts of Paris, 1918 #rivera #socialrealism https://www.wikiart.org/en/diego-rivera/the-outskirts-of-paris-1918

New York Movie, 1939 #americanart #socialrealism https://www.wikiart.org/en/edward-hopper/not_detected_235598

House over the Bridge, 1909 #socialrealism #rivera https://www.wikiart.org/en/diego-rivera/house-over-the-bridge

Still Life, 1918 #socialrealism #diegorivera https://www.wikiart.org/en/diego-rivera/still-life-1918

Portrait of Angelina Beloff, 1909 #socialrealism #rivera https://www.wikiart.org/en/diego-rivera/portrait-of-angelina-beloff-1909

Breton Girl, 1910 #rivera #socialrealism https://www.wikiart.org/en/diego-rivera/breton-girl-1910

Dancer Resting, 1939 #socialrealism #rivera https://www.wikiart.org/en/diego-rivera/dancer-resting-1939

The Circle Theatre, 1936 #socialrealism #hopper https://www.wikiart.org/en/edward-hopper/the-circle-theatre