Painting After All: A Conversation with Mark Bradford

Copeland, Huey

doi:10.1353/cal.2014.0157

Cited by 3 publications

(1 citation statement)

References 6 publications

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“…Since its first implementation, the retraining course also included participants sent by their employers to acquire additional knowledge to move to more demanding positions. 133 Because of good learning results, HBS offered the course regularly and renamed it the Advanced Management Program in 1945 as the number of students with management experience grew year by year. 134 Consequently, AMP turned into an ideal for executive education programs around the world.…”

Section: The Finnish Executive Education Program In Comparisonmentioning

confidence: 99%

Double Objective in Mind: Translating American Management Ideas in the Context of Cold War Finland

Seppälä¹,

Nevalainen²,

Mattila³

et al. 2021

Enterp. Soc.

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The transfer of American management ideas was a central part of the Cold War struggle over ideologies. A key mediator was the European Recovery Program, which conveyed American influences to European management specialists. However, a direct influence was not always possible, as in Finland, which officially blocked assistance because of foreign policy considerations. Still, it was among the first countries to follow Harvard University’s lead in launching advanced management training. We examine how and why the focal actors adopted the American model of executive education, and how they managed to translate foreign ideas persuasively to the local business elite. The translation of executive education to Finland was a lengthy process that involved modification and readjustment of the original idea according to emerging needs. The Advanced Management Program became the core of the curriculum of Finland’s leading executive education institution and thus has influenced the emergence of new business culture.

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Section: The Finnish Executive Education Program In Comparisonmentioning

confidence: 99%

Double Objective in Mind: Translating American Management Ideas in the Context of Cold War Finland

Seppälä¹,

Nevalainen²,

Mattila³

et al. 2021

Enterp. Soc.

View full text Add to dashboard Cite

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Picturing a Rivalry: Nationhood, Soccer, and Contemporary Art

Haxall

2017

Perspectives on the U.S.-Mexico Soccer Rivalry

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Flow and Arrest

Copeland

2015

Small Axe: A Caribbean Journal of Criticism

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We start with a story. In 2002, while researching the dissertation from which my first book, Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America, would emerge, I had the opportunity to pose for the artist Lorna Simpson. Her practice had already become a locus of my thinking about aesthetics, slavery, and the aporias of representation, so I eagerly agreed to serve as her model. With characteristic economy, Simpson made good use of the photographs resulting from our session, eventually deploying them in a range of artworks that together comprise her 2002-03 exhibition Cameos and Appearances. Yet however reproduced, framed, or occluded, those initial Polaroid images are also documents of an encounter in which the "art historian" became the "subject" of "his artist's" "objective" gaze, leaving each of the quoted words estranged from itself and underlining an entanglement in the artistic procedures that I set out to describe. 1 Estranged and entangled: these terms begin to articulate not only the queer experience of belatedly gazing at myself through Simpson's lens but also that of reading the critical engagements with Bound to Appear commissioned by Small Axe and penned by two black literary scholars, Stephen Best and Hortense Spillers, whose work has long mattered to my own.Like Simpson's photographs, my book bears the name of a single author, but it is necessarily a collaborative affair: every writer will admit-at least in his acknowledgments if not through his method-that his work is a condensation of social, conceptual, and material relations that encompass an array of attitudes, objects, practices, and interlocutors. The present company 1 I here revisit thematics first explored in Huey Copeland, "Outtakes," Art Journal 67, no. 4 (2008): 20-32. Small Axe Published by Duke University Press Flow and Arrest |is no exception. Best, whom I first encountered while a graduate student at Berkeley, makes brief but vital appearances in the book's first chapter on Fred Wilson and the third on Glenn Ligon, whose art provides the opening frame for his remarks here. The field-turning scholarship of Spillers, whom I met only recently, has been an invaluable touchstone for my thinking and that of countless others with an investment in black thought and emancipation. Unsurprisingly, then, the means of argumentation and modes of address that these two writers adopt in reading Bound to Appear refract not only their own intellectual commitments and personal dispositions but also those of the book itself. 2 Spillers's and Best's divergent responses make for a generative pairing that reveals the dynamic tensions within black cultural discourse today and that begins to suggest the flows and arrests that animate the book. In attempting to move away from the models of "historical ontology" that, by his lights, undergird Bound to Appear as well as his own previous scholarship, Best offers a white queer understanding of radicalism meant to intervene both within African American studies broadly construed as wel...

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Painting After All: A Conversation with Mark Bradford

Cited by 3 publications

References 6 publications

Double Objective in Mind: Translating American Management Ideas in the Context of Cold War Finland

Double Objective in Mind: Translating American Management Ideas in the Context of Cold War Finland

Picturing a Rivalry: Nationhood, Soccer, and Contemporary Art

Flow and Arrest

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