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Leeds and Chicago successively rode the wave of industrialization

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Leeds and Chicago successively rode the wave of industrialization

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Presenting how two cities, through industrialisation, created "nightlife" in the modern sense

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Industrial Revolution and the "Night Revolution": Reshaping of Time

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Industrial Revolution and the "Night Revolution": Reshaping of Time

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Comparing nightlife in the Middle Ages and after the Industrial Revolution, showcasing social changes (how the Industrial Revolution altered people's routines and entertainment)

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▶︎Categorising exhibits by colour, exploring the emotional responses evoked by different hues

▶︎Emotional contrasts such as joy vs. loneliness, excitement vs. fatigue

Source 🔗 Links Between Colors and Emotions:

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▶︎Early party depictions often focused on aristocratic social scenes

▶︎When did the nightlife of common people start appearing in art?

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[Ref]The development of urban nightlife (In the United States)

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[Ref]The development of urban nightlife (In the United States)

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Cities in the early days of the United States were mostly quiet at night. People who left the comfort of their own homes at night could often be found walking into puddles, tripping over uneven terrain, or colliding into posts because virtually no street lighting existed. Urban areas had established curfew times that " were signaled by the ringing of bells, the beating of drums, or the firing of cannons" at an early hour in the evening. With the advent of gas lighting, culture transformed in fascinating ways. Here are 12 interesting facts about urban nightlife from Peter C. Baldwin's article for the Oxford Research Encyclopedia of American History, which shows how times have greatly changed and, remarkably, how some things have remained the same.

Before 1830

1. The Christmas season was an especially popular time for drunken rowdiness at night. Somewhat like 20th-century trick-or-treaters, young men in early 19th-century Philadelphia and New York knocked on doors demanding drinks or small gifts.

2. Plays were banned in New England cities, forcing traveling troupes to bill their performances as "moral dialogues."

3. Theater audiences used to talk amongst themselves much of the time during performances. With the house lights kept up, audiences paid as much attention to socializing and people-watching as to the performance.

1830-1880

4. With the rise of industrialization, workers could no longer take unscheduled breaks, but had to work steadily. As a result, leisure activities like going for a round of drinks began to be pushed out of the day and into the night.

5. With gas lights in commercial districts and professional police forces replacing poorly-trained and unmotivated night watchmen, growing safety was a key factor in encouraging evening street activity. Restaurants, ice cream parlors, and oyster saloons clustered in the well-lit commercial streets.

1880-1920

6. Hours of work and leisure grew less distinct in the late 19th century. The number of night workers greatly expanded, partly because of the adoption of new processes of continuous production in the iron, glass, paper, and petrochemical industries. These processes were facilitated by the availability of electric power after about 1880, and by the superiority of electric lighting. Better lighting also encouraged additional night work on the docks, and in the manufacturing of textiles and books.

7. A gradual decline in labor hours, slow increases in income, and dwindling moral opposition to commercial entertainment also contributed to the expansion of nightlife. Electric lighting further encouraged the growth of commercial nightlife. In the "bright-light districts" of Chicago, Minneapolis, and many smaller cities, brilliant illumination made downtown streets seem safer and more
exciting. Advertising signs, theater marquees, and glowing store windows added to the flood of light from arc and incandescent street lamps.

8. Nightlife at the very end of the 19th century began to shift decisively away from a male-dominated scene. Alternative nightlife options to the all-male "homosocial"
saloons developed. Mixed-gender restaurants and increasingly lavish hotel dining rooms
opened for business, and vaudeville houses succeeded in attracting a mixed-gendered mass audience.

9. Changes in patterns of courtship encouraged mixed-gender nightlife as well. Instead of courting young women in private, men in the 20th century began taking them out on "dates" to public entertainment places such as restaurants, theaters, and dance halls. Dating freed young couples from parental supervision, a development assisted greatly by the advent of the automobile.

1933-1965

10. The invention of television decreased the number of people who went out in urban areas. Watching TV with one's family became a popular alternative to going out at night. Total movie admissions plummeted from 4.1 billion in 1946 to 1.1 billion in 1962.

11. In the late 1940s and 1950s, bebop jazz performances flourished in smaller nightclubs filled with hipsters. Young hipsters at the time listened to bebop jazz, which offered innovative but less danceable music. They sneered at the conventionality of mainstream society, welcomed the sexuality that they associated with black culture, and, in many cases, supplemented their listening experience by using marijuana and heroin. As the dance culture of young whites came to focus on rock, bop fans preferred just to listen to this increasingly intellectualized art form.

12. Rock concerts in Boston were banned at one point. After a minor riot took place outside the Boston Arena on 3 May 1958, Boston police arrested concert promoter and disc jockey Alan Freed, and then Boston Mayor John B. Hynes briefly called off similar musical performances.
Featured image credit: "52nd Street, New York, N.Y., ca. July 1948" by William Gottlieb. Public Domain via The Library of Congress.

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The development of urban nightlife, 1940s hipsters, & the rise of dating | OUPblog

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Cities in the early days of the United States were mostly quiet at night. People who did leave the comfort of their own homes at night could often be found walking into puddles, tripping over uneven terrain, or colliding into posts because virtually no street lighting existed.With the advent of gas lighting, culture transformed in fascinating ways.

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[Ref] Life After Dark: A History of British Nightclubs and Music Venues review – dizzying dancefloor days

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[Ref] Life After Dark: A History of British Nightclubs and Music Venues review – dizzying dancefloor days

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Life After Dark: A History of British Nightclubs and Music Venues review – dizzying dancefloor days

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Jude Rogers on Dave Haslam’s rousing tribute to British club culture and its place within the nation’s psyche

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From Politicisation to Commercialisation: The Evolution of UK Club Culture in the 1990s.

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Going on your first night out to a club has become a coming-of-age passage for many young people across the world and nightlife venues are dotted in towns and

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A gradual decline in working hours and a slow rise in income significantly contributed to the expansion of nightlife. Electric lighting and vibrant urban centres like Chicago further enhanced the appeal of evening activities.

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Oxford Research Encyclopedia of American History

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Today the term nightlife typically refers to social activities in urban commercial spaces-particularly drinking, dancing, dining, and listening to live musical performances. This was not always so. Cities in the 18th and early 19th centuries knew relatively limited nightlife, most of it occurring in drinking places for men.

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Handle Spout Jug with Relief Depicting Skeletal Musicians Dancing 

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Handle Spout Jug with Relief Depicting Skeletal Musicians Dancing 

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Moche
Trujilo Valley, north coast, Peru

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ERROR: The request could not be satisfied

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Qing dynasty (1644–1911), late 17th to early 18th century
Artist:
Leng Mei (Chinese, 1669-1742)

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Drinking and Dancing before the Tribal Chief

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Drinking and Dancing before the Tribal Chief

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Cross-cultural Canvas: Gatherings from Diverse Perspectives

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Cross-cultural Canvas: Gatherings from Diverse Perspectives

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Party scenes through the eyes of artists from different cultures

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Late Classic Maya
Possibly Petén region, Guatemala

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Plate Depicting a Dancing Figure | The Art Institute of Chicago

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published November 23, 1867
Artist:
Winslow Homer (American, 1836-1910)
published by Harper’s Weekly (American, 1857-1916)

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A Parisian Ball—Dancing at the Mabille, Paris

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A Parisian Ball—Dancing at the Mabille, Paris

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A Parisian Ball-Dancing at the Mabille, Paris | The Art Institute of Chicago

# data[].attributes.attachment_link.description
Winslow Homer, published November 23, 1867

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published November 23, 1867
Artist:
Winslow Homer (American, 1836-1910)
published by Harper’s Weekly (American, 1857-1916)

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A Parisian Ball-Dancing at the Casino | The Art Institute of Chicago

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Winslow Homer, published November 23, 1867

# data[].attributes.headline
Menalcas Watching Women Dance, from The Pastorals of Virgil

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Menalcas Watching Women Dance, from The Pastorals of Virgil

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ERROR: The request could not be satisfied

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c. 1767/68
Artist:
Suzuki Harunobu 鈴木 春信
Japanese, 1725 (?)-1770

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ERROR: The request could not be satisfied

# data[].attributes.attachment_caption
c. 1750
Artist:
Ishikawa Toyonobu
Japanese, 1711-1785

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The Hobby Horse Dance (harugoma odori) | The Art Institute of Chicago

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1827/40
Artist:
Designed by George Zipelius (French, 1808-1890) after Sulpice Guillaume Chevallier, called Gavarni (French, 1804-1866)
France

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Le Bal (The Costume Ball) (Furnishing Fabric)

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Le Bal (The Costume Ball) (Furnishing Fabric)

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ERROR: The request could not be satisfied

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180 BCE–500 CE
Artist:
Nazca
South coast, Peru

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1897
Artist:
Henri de Toulouse-Lautrec
French, 1864-1901

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Dance at the Moulin Rouge | The Art Institute of Chicago

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1836
Artist:
John Frederick Lewis
English, 1805-1876

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1907
Artist:
George Wesley Bellows
American, 1882-1925

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c. 1764
Artist:
Torii Kiyomitsu I
Japanese, 1735-1785

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plate 39 from Woodcuts from Books of the XVI Century Date:
1567, assembled into portfolio 1937
Artist:
Hans Holbein, the Younger, after (German, c.1497-1543)
assembled by Max Geisberg (Swiss, 1875-1943)

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Dance of Death, plate 39 from Woodcuts from Books of the XVI Century | The Art Institute of Chicago

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Hans Holbein, the younger, 1567, assembled into portfolio 1937

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A woman dances with fabric as musicians play Greek instruments, creating a lively scene.

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Show this image

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Pelike (Storage Jar)

Date:

about 510-500 BCE

Artist:

Greek; Athens

About this artwork

This ancient storage vessel is decorated in the black-figure technique, which was developed in Corinth and used widely during the Archaic period (700-480 BCE). Gloss, a slip made from refined clay, was applied to all areas intended to be black. For the figural scene the silhouettes of the figures and other elements were painted in gloss, sometimes following the lines of a preliminary sketch scratched into the surface. Using a sharp tool, the artist created details by incising through the gloss to the light clay ground below. Colors such as purple-red and white, made from a gloss with mineral pigments, were then added. After a three-stage firing process applying alternately less and more oxygen, the gloss turned black. In its finest form, it was quite shiny. On this vessel, those techniques are used by the artist to create lively scenes in which a woman dances playfully with a drape of fabric, perhaps her cloak. Male musicians accompany her with Greek instruments including a Barbiton (the string instrument which looks like a small harp) and an aulos (the wind instrument shaped like a doubled flute). The inquisitive dog adds to the sense of movement and rhythm within the scene.

Status

Currently Off View

Department

Arts of the Ancient Mediterranean and Byzantium

Culture

Ancient Greek

Title

Pelike (Storage Jar)

Place

Greece (Artist's nationality:)

510 BCE-500 BCE

Medium

terracotta, black-figure with applied paint

Dimensions

H.: 34.9 cm (13 3/4 in.)

Credit Line

Gift of Philip D. Armour and Charles L. Hutchinson

Reference Number

1889.12

IIIF Manifest

https://api.artic.edu/api/v1/artworks/158/manifest.json

Extended information about this artwork

Publication History

William M.R. French, Notes [on a] journey to Europe with Mr. and Mrs. C.L. Hutchinson starting from New York Sat'y Mch. 9, 1889- , (unpublished manuscript, Art Institute of Chicago Archives), p. 25.

Dietrich von Bothmer, "Attic Black-Figured Pelikai," Journal of Hellenic Studies, 71 (1951): p. 43 no. 17.

Karen B. Alexander, "From Plaster to Stone: Ancient Art at the Art Institute of Chicago," in Karen Manchester, Recasting the Past: Collecting and Presenting Antiquities at the Art Institute of Chicago (Chicago: Art Institute of Chicago; New Haven: Yale University Press, 2012), p. 18.

Elizabeth Hahn Benge, "From Aegina to Andronicus: A Survey of Coinage at the Art Institute of Chicago," in Historia Mundi n. 5 (January 2016): p. 202.

Exhibition History

Art Institute of Chicago, The Human Figure in Early Greek Art, A Preview, Part One, Gallery 101A, September 1, 1988 - May 24, 1989.

The Art Institute of Chicago, Ancient Art Galleries, Gallery 155, April 20, 1994-February 6, 2012.

The Art Institute of Chicago, Of Gods and Glamour: The Mary and Michael Jaharis Galleries of Greek, Roman, and Byzantine Art, Gallery 151, November 11, 2012-present.

Provenance

Said to be found near Capua, 1882 [Old Register at the Art Institute of Chicago]. Augusto Mele, Naples, Italy; sold to the Art Institute of Chicago through J.C. Fletcher as agent, 1889; price reimbursed by Charles Hutchinson and Philip D. Armour, 1889.

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Pelike (Storage Jar) | The Art Institute of Chicago

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1834
Artist:
Paul Gavarni
French, 1804-1866

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1998
Artist:
Tony Fitzpatrick
American, born 1958

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1981
Artist:
Ken Price (American, 1935–2012)
written by Harvey Mudd (American, born 1940)
printed by Gary Lichtenstein (American)
published by Arabesque Books

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c. 1860
Artist:
Fujii Teisa
Japanese, 1802-1869

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Show this image

Meeting of a Poetry Club

Date:

c. 1860

Artist:

Fujii Teisa
Japanese, 1802-1869

About this artwork

In this print, the artist Fujii Teisa presented a charming view of a gathering of poets, who drink, converse, and read poetry while seated on a red blanket. This idealized view of such a gathering is based on older visual prototypes, and Teisa took this image from a model drawn by Taniguchi Gesso (1773-1865), who specialized in figural sketches.
Teisa was a haiku poet and follower of Suganuma Kushibuchi (1747-1834), from whom he took the name Hananoya, with which he signed this work. By signing the poem to the far left, he also marked himself as the host of this particular gathering.

Extended information about this artwork

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Meeting of a Poetry Club | The Art Institute of Chicago

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December 1968
Artist:
Philip Hanson
American, born 1943

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Country Club Dance

Date:

December 1968

Artist:

Philip Hanson
American, born 1943

About this artwork

A culmination of Philip Hanson's Dancing Couple series, and perhaps the inspiration for a 1969 painting bearing the same name, the etching Country Club Dance depicts seven pairs of well-dressed couples clinging to each other on a terrace. The scene is staged theatrically: curtainlike balloons and a low wall in the foreground, where the footlights might sit on a stage, frame the couples. Unnaturally large plants occupy the sides, their creeping, fingerlike tendrils reaching toward the couples. Despite the crowded dance floor, the faceless figures appear lonely and removed from their social surroundings.

Extended information about this artwork

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Country Club Dance | The Art Institute of Chicago

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1947
Artist:
Adolf Arthur Dehn
American, 1895-1968

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Grand Dance and Wild Party of All the Calaveras

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Grand Dance and Wild Party of All the Calaveras

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n.d.

Artist:

José Guadalupe Posada
Mexican, 1852-1913

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published March 4, 1817
Artist:
George Cruikshank (English, 1792-1878)
published by Hannah Humphrey (English, c. 1745-1818)

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Dos-a-dos - Accidents in Quadrille Dancing

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Dos-a-dos - Accidents in Quadrille Dancing

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Dos-a-dos - Accidents in Quadrille Dancing | The Art Institute of Chicago

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George Cruikshank, published March 4, 1817

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1889
Artist:
James McNeill Whistler
American, 1834-1903

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The Dance House: Nocturne | The Art Institute of Chicago

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1892

Artist:

Henri de Toulouse-Lautrec
French, 1864-1901

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c. 1637
Artist:
Claude Lorrain
French, 1600-1682

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# data[].attributes.headline
Gibbon snatching sake pot from flower-viewing party

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Gibbon snatching sake pot from flower-viewing party

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Gibbon snatching sake pot from flower-viewing party | The Art Institute of Chicago

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1785/95

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A Picnic Party | The Art Institute of Chicago

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Fruity

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Mary Cassatt 1890-91

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Afternoon Tea Party | The Art Institute of Chicago

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Archibald John Motley Jr.

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This cluster consists of mini digital exhibits, each collecting extended stories such as how the item was found and interesting facts behind it. With 3D-scanned exhibit models and an interactive scroll page, it attracts visitors to explore the connections between one exhibit and more relevant content.

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1957

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1983

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Henri de Toulouse-Lautrec（1864-1901）

His experience spans the nightlife of nobles and commoners

https://www.barnebys.co.uk/blog/toulouse-lautrec-aristocratic-and-dispossessed

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At the Moulin Rouge | The Art Institute of Chicago

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His works depict the loneliness of people in urban barshttps://www.artic.edu/articles/808/nighthawks-as-a-symbol-of-hope

https://www.artic.edu/videos/21/edward-hoppers-nighthawks-art-institute-essentials-tour

https://www.artic.edu/articles/808/nighthawks-as-a-symbol-of-hope

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Nighthawks

Date:

1942

Artist:

Edward Hopper
American, 1882-1967

Related

Related

About this artwork

About Nighthawks Edward Hopper recollected, "unconsciously, probably, I was painting the loneliness of a large city." In an all-night diner, three customers sit at the counter opposite a server, each appear to be lost in thought and disengaged from one another. The composition is tightly organized and spare in details: there is no entrance to the establishment, no debris on the streets. Through harmonious geometric forms and the glow of the diner's electric lighting, Hopper created a serene, beautiful, yet enigmatic scene. Although inspired by a restaurant Hopper had seen on Greenwich Avenue in New York, the painting is not a realistic transcription of an actual place. As viewers, we are left to wonder about the figures, their relationships, and this imagined world.

Status

On View, Gallery 262

Department

Arts of the Americas

Artist

Edward Hopper

Title

Nighthawks

Place

United States (Artist's nationality:)

1942

Medium

Oil on canvas

Inscriptions

signed l.r. "Edward Hopper"

Dimensions

84.1 × 152.4 cm (33 1/8 × 60 in.)

Credit Line

Friends of American Art Collection

Reference Number

1942.51

Extended information about this artwork

Gail Levin, "Edward Hopper's Nighthawks, Surrealism, and the War," Art Institute of Chicago Museum Studies 22, 2 (1996), 180-95, fig. 1.

The Art Institute of Chicago: Twentieth-Century Painting and Sculpture, selected by James N. Wood and Teri J. Edelstein (Chicago: Art Institute of Chicago, 1996), 85, ill.

Judith A. Barter et al., American Modernism at the Art Institute of Chicago, From World War I to 1955 (Chicago: Art Institute of Chicago/Yale University Press, 2009), no. 133.

Nina Baym et al., eds., The Norton Anthology of American Literature, 8th edition (W. W. Norton & Company, 2012), ill.

Arthur Shimamura, Experiencing Art: In the Brain of the Beholder (Oxford University Press, 2013), 237 (ill.).

Derek Matravers, Introducing Philosophy of Art: In Eight Case Studies (Routledge, 2013), ill.

Duane Preble Emeritus et al., Prebles' Artforms, 11th edition (Pearson, 2013), 428, ill.

Robert Burleigh, Edward Hopper Paints His World (Henry Holt and Co., 2014), ill.

Steven Mintz, The Prime of Life: A History of Modern Adulthood (Belknap Press, 2015), ill.

Ramsay H. Slugg, Handbook of Practical Planning for Art Collectors and Their Advisors (ABA Book Publishing, 2015), ill.

Judith A. Barter, ed. America After the Fall: Painting in the 1930s, exh. cat. (Chicago: Art Institute of Chicago/Yale University Press, 2016), fig. 3, 178.

Paintings at the Art Institute of Chicago, Highlights of the Collection (Chicago: Art Institute of Chicago/Yale University Press, 2017), 135.

Judith A. Barter, "Prolog: Eine neue Welt der Kunst" and Susanne Scharf, "Bilder von Amerika: Edward Hoppers Äesthetisierung des Alltäglichen," in Es war einmal in Amerika - 300 Jahre US-amerikanische Kunst [Once Upon a Time in America: Three Centuries of American Art], eds. Barbara Schaefer and Anita Hachmann (Cologne: Wallraf-Richartz-Museum & Fondation Corboud/Wienand Verlag, 2018), 25, fig. 12 (ill.); 219, fig. 1 (ill.).

Charles Passy, "Edward Hopper's 'Nighthawks' Gets 21st Century Makeover," The Wall Street Journal, Dec. 5, 2020, https://www.wsj.com/articles/edward-hoppers-nighthawks-gets-21st-century-makeover-11607184000.

"The Defining Artworks of 2020," ARTnews, Dec. 9, 2020, https://www.artnews.com/list/art-news/artists/most-important-artworks-2020-1234578712/edward-hopper-nighthawks-1942, ill.

Hall W. Rockefeller, "A Rehang of Hopper's Iconic 'Nighthawks' Changes the Game," Hyperallergic, Mar. 23, 2022, https://hyperallergic.com/718667/a-rehang-of-edward-hopper-iconic-nighthawks-changes-the-game (ill.).

Art Institute of Chicago, The Fifty-third Annual Exhibition of American Paintings and Sculpture, Oct. 29-Dec. 10, 1942, cat. 132.

Indianapolis, 1943.

Art Institute of Chicago, The Fifty-fourth Annual Exhibition of American Paintings and Sculpture, Oct. 28-Dec. 12, 1943, cat. 15.

New York City, Whitney Museum of American Art, Edward Hopper: Retrospective Exhibition, Feb. 11-Mar. 26, 1950, cat. 61, pl. 28; Museum of Fine Arts, Boston, Apr. 13-May 14, 1950; Detroit Institute of Arts, June 4-July 2, 1950.

New York City, Wildenstein, Loan Exhibition of Seventy Twentieth Century American Paintings, Feb. 21-Mar. 22, 1952, cat. 54.

Venice, Esposiazione Biennale Internazionale d'Arte, June 14-Oct. 19, 1952, cat. 26.

Art Institute of Chicago, Two Centuries of American Art, 1750-1950, Oct. 1, 1959-Jan. 10, 1960, no cat. [downloadable checklist available].

Lake Forest College, Illinois.

New York, Whitney Museum of American Art, Edward Hopper, Sept. 29-Nov. 29, 1964, cat. 43; Art Institute of Chicago, Dec. 18-Jan. 31, 1965.

Cleveland Museum of Art, Ohio, Fifty Years of Modern Art, June 14-July 31, 1966, cat. 81.

New York City, Whitney Museum of American Art, Edward Hopper: The Art and the Artist, Sept. 23, 1980-Jan. 18, 1981, cat. 386; London, Hayward Gallery, Feb. 11-Mar. 29, 1981 (separate catalogue, cat. 96), Amsterdam, Stedelijk Museum, Apr. 22-June 17, 1981; Düsseldorf, Städtische Kunsthalle, July 10-Sept. 6, 1981; Art Institute of Chicago, Oct. 3-Nov. 29, 1981; San Francisco Museum of Modern Art, Dec16, 1981-Feb. 14, 1982.

Essen, Germany, Museum Folkwang, Edward Hopper und die Fotografie: die Warheit des Sichtbaren (Edward Hopper and Photography: The Truth of the Real), June 28-Sept. 27, 1992, p. 63, ill.

London, Tate Modern, Edward Hopper, May 27-Sept. 5, 2004; Cologne, Museum Ludwig, Oct. 9, 2004-Jan. 9, 2005.

New York, Whitney Museum of American Art, Oct. 3-Dec. 31, 2006.

Boston, Museum of Fine Arts, Edward Hopper, May 6-Aug. 19, 2007; Washington, DC, National Gallery of Art, Sept. 16, 2007-Jan. 21, 2008; Art Institute of Chicago, Feb. 16-May 11, 2008.

Madrid, Museo Thyssen-Bornemisza, Edward Hopper, June 12-Sept. 16, 2012; Paris, Galeries nationales d'exposition du Grand Palais, Oct. 5, 2012-Jan. 28, 2013 (Paris only).

New York, Whitney Museum of American Art, Edward Hopper Drawings, May 23-Oct. 6, 2013; Dallas Museum of Art, Nov. 17, 2013-Feb. 16, 2014; Minneapolis, Walker Art Center, Mar. 15-June 22, 2014 (New York only).

Art Institute of Chicago, Art and Appetite: American Painting, Culture, and Cuisine, Nov. 10, 2013-Jan. 27, 2014, cat. 28; Fort Worth, Amon Carter Museum of American Art, Feb. 22-May 18, 2014.

Shanghai Museum, Pathways to Modernism: American Art, 1865-1945, Sept. 28, 2018-Jan. 6, 2019, cat. 71.

Edward Hopper (1882-1967), 1942; consigned to Frank Rehn Galleries, 1942; sold to the Art Institute of Chicago, 1942.

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Nighthawks | The Art Institute of Chicago

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The oldest social club in Britain

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The Holbeck (formerly the Holbeck Working Men’s Club or Holbeck WMC) in Leeds is one of the United Kingdom’s oldest working men’s clubs, and is thought to be the UK’s oldest surviving working men’s club.[1]

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Leeds and Chicago are both renowned for their nightlife

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Leeds and Chicago are both renowned for their nightlife

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Image

1. Liu Yun Ci. The First Fruity of the Year! (unpublished photograph by the author, taken at Leeds University Union, 20 September 2024).

2. Yitong. Peer to Peer Review (unpublished photograph, 10 December 2024). Pictured (left to right): Yitong, Frankie, Yunci.

Website

1. Baldwin, Peter C. “Nightlife in the City.” Oxford Research Encyclopedia of American History. Oxford: Oxford University Press, 2 March 2015. Available at: https://oxfordre.com/americanhistory/view/10.1093/acrefore/9780199329175.001.0001/acrefore-9780199329175-e-178 [Accessed 6 December 2024].

2. Garzilli, Alessia, for Domicele Jonauskaite and Christine Mohr. “The International Color-Emotion Association Survey - Emotions Presented as the Wheel” [Illustration], 2020.

3. Museum of Youth Culture. “Club Culture.” Museum of Youth Culture. Available at: https://www.museumofyouthculture.com/club-culture/ [Accessed 23 October 2024].

4. Oxford University Press. “Urban Nightlife, Hipsters, and the New Rules of Dating.” OUPblog. Available at: https://blog.oup.com/2016/09/urban-nightlife-hipsters-dating/ [Accessed 23 October 2024].

5. Wikipedia. “Holbeck Working Men’s Club.” Wikipedia. Available at: https://en.wikipedia.org/wiki/Holbeck_Working_Men%27s_Club [Accessed 30 October 2024].

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Peer to peer review 10Dec

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What’s the very first thing that pops up in your mind when you’re going out on a Friday night? How does that make you feel?

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After Dark: Emotions of Night Out – A Journey Through the Night

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After Dark:Emotions of Night Out

Chicago Art Institute

Angela, poe, & max

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https://night-out-8865df.webflow.io/

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Finalising the Big Idea and Exhibition Framework Meeting Notes

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Finalising the Big Idea and Exhibition Framework Meeting Notes

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V1_03 Nov_Big Idea Draft / Interpretation Strategy / Object list /  Draft Intro label/ text /  Draft  Label Text

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V1_03 Nov_Big Idea Draft / Interpretation Strategy / Object list /  Draft Intro label/ text /  Draft  Label Text

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Final_27 Nov_Big Idea Draft / Interpretation Strategy / Object list /  Draft Intro label/ text /  Draft  Label Text

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Final_27 Nov_Big Idea Draft / Interpretation Strategy / Object list /  Draft Intro label/ text /  Draft  Label Text

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V2_13  Nov_ Object list /  Intro label/ text /   Label Text

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V2_13  Nov_ Object list /  Intro label/ text /   Label Text