Description : How did the average American learn about art in the mid-nineteenth century? With public art museums still in their infancy, and few cities and towns large enough to support art galleries or print shops, Americans relied on mass-circulated illustrated magazines. One group of magazines in particular, known collectively as the Philadelphia pictorials, circulated fine art engravings of paintings, some produced exclusively for circulation in these monthlies, to an eager middle-class reading audience. These magazines achieved print circulations far exceeding those of other print media (such as illustrated gift books, or catalogs from art-union membership organizations). Godey’s, Graham’s, Peterson’s, Miss Leslie’s, and Sartain’s Union Magazine included two to three fine art engravings monthly, “tipped in” to the fronts of the magazines, and designed for pull-out and display. Featuring the work of a fledgling group of American artists who chose American rather than European themes for their paintings, these magazines were crucial to the distribution of American art beyond the purview of the East Coast elite to a widespread middle-class audience. Contributions to these magazines enabled many an American artist and engraver to earn, for the first time in the young nation’s history, a modest living through art.Author Cynthia Lee Patterson examines the economics of artistic production, innovative engraving techniques, regional imitators, the textual “illustrations” accompanying engravings, and the principal artists and engravers contributing to these magazines.
Description : Middle-class Brits are embarrassed, awkward, and charmingly insecure in their tastes. The Art of Being Middle-Class, based on stories from cult blog The Middle Class Handbook, is here to help. What are the essential topics to cover when talking about other couples? What do you do about the awkward bag on the seat moment? How do you subtly boast about your summer holiday destination? What does your cooker hood say about you? With tips on taste and etiquette, a conspiratorial cheer here and there, and a kick up the bum when necessary, this book sets out to help our marvellous British MCs be the best they can be. Praise for The Middle Class Handbook: "Indispensable... whether you're middle class or pretending not to be." GQ magazine. "Hilarious... we laughed our organic, brushed cotton socks off." Grazia. "The Middle Class Handbook skewers the middle classes, and then dissects them with ruthless comical accuracy." Esquire.
Description : Patricia A. Banks traverses the New York and Atlanta art worlds to uncover how black identities are cultivated through black art patronage. Drawing on over 100 in-depth interviews, observations at arts events, and photographs of art displayed in homes, Banks elaborates a racial identity theory of consumption that highlights how upper-middle class blacks forge black identities for themselves and their children through the consumption of black visual art. She not only challenges common assumptions about elite cultural participation, but also contributes to the heated debate about the significance of race for elite blacks, and illuminates recent art world developments. In doing so, Banks documents how the salience of race extends into the cultural life of even the most socioeconomically successful blacks.
Description : This is the enthralling story of the great powerhouse of British history - the middle class. The death of feudalism, the advancement of democracy, the spread of literacy, the industrial and sexual revolutions, the development of mass media - the middle class is never far away, drawing up petitions, pushing for change in attitude and legislation, engaging in philanthropy. In this scholarly and hugely entertaining account, Lawrence James brings to life the stories of churchmen and charity-workers, lawyers and lobbyists to create an engaging and colourful social and political panorama. Richly textured and highly relevant, this is narrative history at its best.
Description : Our image of the Roman world is shaped by the writings of upper-class intellectuals. Yet most of the material evidence we have—art, architecture, household artifacts—belonged to artisans, merchants, and professionals. Roman culture as we have seen it with our own eyes is distinctly middle-class and requires a radically new framework of analysis.
Description : 9.5 Theses on Art and Class seeks to show how a clear understanding of class makes sense of what is at stake in a broad number of contemporary art's most persistent debates, from definitions of political art to the troubled status of "outsider" and street art to the question of how we maintain faith in art itself. Ben Davis currently lives and works in New York City where he is Executive Editor at Artinfo.