Who'd a Thought It?
2012; Taylor & Francis; Volume: 27; Issue: 3 Linguagem: Inglês
10.1080/02690055.2012.690552
ISSN1747-1508
Autores ResumoClick to increase image sizeClick to decrease image size Acknowledgements All Donald Rodney images are reproduced courtesy of the Donald Rodney Estate, to which thanks are extended. Notes 1. The large body of material on Frida Kahlo includes Frida Kahlo: Painting Her Own Reality by Christina Burrus (New York: Abrams, 2008), Devouring Frida: The Art History and Popular Celebrity of Frida Kahlo by Margaret A Lindauer (Hanover, NH: Wesleyan UP, 1999) and Frida: A Biography of Frida Kahlo by Hayden Herrera (New York: Harper and Row Publishers, Perennial Library, 1983). 2. Since Kahlo's work was introduced to international audiences from the late 1970s onwards, it has been the subject of numerous exhibitions and publications. A critically acclaimed biopic was made along with other biographies of the artist. 3. For information and material on Donald Rodney, see essays by Eddie Chambers and Virginia Nimarkoh in Doublethink edited by Richard Hylton (London: Autograph, 2003). 4. Dixon of Dock Green was a genteel drama series that ran on British television for two decades from the mid-1950s. The central character, Police Constable Dixon, was portrayed as reassuring and ready to mildly rebuke wrongdoers but, more importantly perhaps, he showed them the error of their ways. Dixon's paternal nature created a sense of policing as a benign service, the cornerstone of all stable, God-fearing British communities. The popular memory of Dixon of Dock Green is in essence a comforting throwback to how television used to be, how life used to be, how society used to be, before all of these things became ever more mixed up and frenetic as the century wore on. 5. A review of TSWA Four Cities Project appeared in Art Monthly, Oct. 1990. Written by John Furse, the review provided a useful introduction to Visceral Canker. In part, it read, ' … the Palmerston gun-battery, part of a complex fortress system built to defend the City of Plymouth against foreign intruders … Rodney's two-part piece is a terse comment on the parts played by Elizabeth I and her naval commander Sir John Hawkins, a Devon man, in the development of the slave-trade. Coats of arms (there is an image of a hanged Moor in Hawkins's) are linked by transparent tubing to a simple pumping system that acts as a metaphor for the human heart and in turn, as Rodney sees it, the hearts of the nation.'
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