Inventing the Needy : Gender and the Politics of Welfare in Hungary
معرفی کتاب «Inventing the Needy : Gender and the Politics of Welfare in Hungary» نوشتهٔ Lynne A Haney; ProQuest (Firm)، منتشرشده توسط نشر University of California Press ; San Jose Museum of Art در سال 2002. این کتاب در فرمت pdf، زبان انگلیسی ارائه شده است.
Nathan Oliveira's (1928--2010) passion for continuing an inner-directed artistic tradition attached to the human subject persisted throughout his more than forty years as a painter and master printmaker. His art represents an ongoing dialogue with artists from Rembrandt to Goya to Munch, Beckmann, Giacometti, and de Kooning--whom he recognized for their insights into the human condition. The human touch, so often absent in contemporary work, is distinct in Oliveira's art. His paintings and monotypes bear the mark of his brush in the tactile quality of the paint and the unique printed surfaces of his monotypes. He lived and worked in the San Francisco Bay Area, where he was professor emeritus of art at Stanford University, Oliveira is widely regarded as a key figure in American art, and his paintings, monoprints, drawings, watercolors, and sculpture have attracted an international audience. This book is the most comprehensive study to date of Oliveira's career as artist and teacher. Generously illustrated with 172 images, more than 100 in color, and including valuable, previously unpublished biographical and bibliographical information, Nathan Oliveira accompanied the major traveling exhibition of the same name. Peter Selz's authoritative text weaves key moments in Oliveira's professional life together with compelling readings of the paintings themselves. Selz, who curated the exhibition, succeeds brilliantly in establishing a sense of where Oliveira came from, what inspired him, and how he thought of himself as an artist. Selz discusses Oliveira's beginnings as the son of Portuguese immigrants, his early exposure to Bay Area artists, and his formative experience of studying with Max Beckmann. Selz also traces the artist's affinity to his older contemporaries, his search for an expressive relationship between form and space that found resonance in presentation of the single figure, and the exhibitions and collaborations that shaped his career. Susan Landauer's introduction provides an overview of the artist's work, while Joann Moser considers Oliveira's prints and drawings. Gary Carson's chronology, bibliography, and list of Oliveira's solo exhibitions complete this landmark publication, which fills an important gap in bringing Oliveira's powerful paintings and prints to the attention of a much larger public. Nathan Oliveira's Passion For Continuing An Inner-directed Artistic Tradition Attached To The Human Subject Has Persisted Throughout His More Than Forty Years As A Painter And Master Printmaker. His Art Represents An Ongoing Dialogue With Artists From Rembrandt To Goya To Munch, Beckmann, Giacometti, And De Kooning - Whom He Recognizes For Their Insights Into The Human Condition. The Human Touch, So Often Absent From Contemporary Work, Is Distinct In The Mark Of Oliveira's Brush, The Tactile Quality Of His Paint, And The Unique Printed Surfaces Of His Monotypes. Active In The San Francisco Bay Area, Oliveira Is Widely Regarded As A Key Figure In American Art, And His Paintings, Monoprints, Drawings, Watercolors, And Sculpture Have Attracted An International Audience. This Book Is The Most Comprehensive Study To Date Of Oliveira's Career As Artist And Teacher. Generously Illustrated With 183 Images, More Than 100 In Color, And Including Valuable, Previously Unpublished Biographical And Bibliographical Information, Nathan Oliveira Will Accompany The Major Traveling Exhibition Of The Same Name. Peter Selz's Authoritative Text Weaves Key Moments In Oliveira's Professional Life Together With Compelling Readings Of The Paintings Themselves. Selz, Who Curated The Exhibition, Succeeds Brilliantly In Establishing A Sense Of Where Oliveira Came From, What Inspired Him, And How He Thought Of Himself As An Artist. He Discusses Oliveira's Beginnings As The Son Of Portuguese Immigrants, His Early Exposure To Bay Area Artists, And The Formative Experience Of Studying With Max Beckmann. Selz Also Traces The Artist's Affinity To His Older European Contemporaries, His Search For An Expressive Relationship Between Form And Space That Found Resonance In Presentation Of The Single Figure, And The Exhibitions And Collaborations That Shaped His Career.--jacket. Director's Preface / Daniel T. Keegan -- Between The Notes: The Art Of Nathan Oliveira / Susan Landauer -- Nathan Oliveira / Peter Selz -- Traditions Through Time: A Consideration Of Oliveira's Printsand Monotypes / Joann Moser -- Chronology / G.b. Carson -- Selected Exhibitions / G.b. Carson -- Bibliography / G.b. Carson. Peter Selz ; With An Introduction By Susan Landauer And An Essay By Joann Moser. Published To Accompany An Exhibition At The San Jose Museum Of Art, Feb. 8-may 12, 2002, And At Four Other Museums Through Nov. 2003. Includes Bibliographical References (p. 216-223) And Index. "Nathan Oliveira's passion for continuing an inner-directed artistic tradition attached to the human subject has persisted throughout his more than forty years as a painter and master printmaker. His art represents an ongoing dialogue with artists from Rembrandt to Goya to Munch, Beckmann, Giacometti, and de Kooning - whom he recognizes for their insights into the human condition. The human touch, so often absent from contemporary work, is distinct in the mark of Oliveira's brush, the tactile quality of his paint, and the unique printed surfaces of his monotypes. Active in the San Francisco Bay Area, Oliveira is widely regarded as a key figure in American art, and his paintings, monoprints, drawings, watercolors, and sculpture have attracted an international audience. This book is the most comprehensive study to date of Oliveira's career as artist and teacher. Generously illustrated with 183 images, more than 100 in color, and including valuable, previously unpublished biographical and bibliographical information, Nathan Oliveira will accompany the major traveling exhibition of the same name.". "Peter Selz's authoritative text weaves key moments in Oliveira's professional life together with compelling readings of the paintings themselves. Selz, who curated the exhibition, succeeds brilliantly in establishing a sense of where Oliveira came from, what inspired him, and how he thought of himself as an artist. He discusses Oliveira's beginnings as the son of Portuguese immigrants, his early exposure to Bay Area artists, and the formative experience of studying with Max Beckmann. Selz also traces the artist's affinity to his older European contemporaries, his search for an expressive relationship between form and space that found resonance in presentation of the single figure, and the exhibitions and collaborations that shaped his career."--BOOK JACKET. Inventing the Needy offers a powerful, innovative analysis of welfare policies and practices in Hungary from 1948 to the last decade of the twentieth century. Using a compelling mix of archival, interview, and ethnographic data, Lynne Haney shows that three distinct welfare regimes succeeded one another during that period and that they were based on divergent conceptions of need. The welfare society of 1948-1968 targeted social institutions, the maternalist welfare state of 1968-1985 targeted social groups, and the liberal welfare state of 1985-1996 targeted impoverished individuals. Because they reflected contrasting conceptions of gender and of state-recognized identities, these three regimes resulted in dramatically different lived experiences of welfare.
Haney's approach bridges the gaps in scholarship that frequently separate past and present, ideology and reality, and state policies and local practices. A wealth of case histories gleaned from the archives of welfare institutions brings to life the interactions between caseworkers and clients and the ways they changed over time. In one of her most provocative findings, Haney argues that female clients' ability to use the state to protect themselves in everyday life diminished over the fifty-year period. As the welfare system moved away from linking entitlement to clients' social contributions and toward their material deprivation, the welfare system, and those associated with it, became increasingly stigmatized and pathologized. With its focus on shifting inventions of the needy, this broad historical ethnography brings new insights to the study of welfare state theory and politics.
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Haney's approach bridges the gaps in scholarship that frequently separate past and present, ideology and reality, and state policies and local practices. A wealth of case histories gleaned from the archives of welfare institutions brings to life the interactions between caseworkers and clients and the ways they changed over time. In one of her most provocative findings, Haney argues that female clients' ability to use the state to protect themselves in everyday life diminished over the fifty-year period. As the welfare system moved away from linking entitlement to clients' social contributions and toward their material deprivation, the welfare system, and those associated with it, became increasingly stigmatized and pathologized. With its focus on shifting inventions of the needy, this broad historical ethnography brings new insights to the study of welfare state theory and politics.
Inventing the Needy offers a powerful, innovative analysis of welfare policies and practices in Hungary from 1948 to the last decade of the twentieth century. Using a compelling mix of archival, interview, and ethnographic data, Lynne Haney shows that three distinct welfare regimes succeeded one another during that period and that they were based on divergent conceptions of need. The welfare society of 1948-1968 targeted social institutions, the maternalist welfare state of 1968-1985 targeted social groups, and the liberal welfare state of 1985-1996 targeted impoverished individuals. Because they reflected contrasting conceptions of gender and of state-recognized identities, these three regimes resulted in dramatically different lived experiences of welfare.
Haney's approach bridges the gaps in scholarship that frequently separate past and present, ideology and reality, and state policies and local practices. A wealth of case histories gleaned from the archives of welfare institutions brings to life the interactions between caseworkers and clients and the ways they changed over time.
In one of her most provocative findings, Haney argues that female clients' ability to use the state to protect themselves in everyday life diminished over the fifty-year period. As the welfare system moved away from linking entitlement to clients' social contributions and toward their material deprivation, the welfare system, and those associated with it, became increasingly stigmatized and pathologized. With its focus on shifting inventions of the needy, this broad historical ethnography brings new insights to the study of welfare state theory and politics.