Afterall: A Journal of Art, Context and Enquiry最新文献

{"title":"Rosalind Nashashibi: Cold Open Day","authors":"Mike Sperlinger","doi":"10.1086/717403","DOIUrl":"https://doi.org/10.1086/717403","url":null,"abstract":"1. We open to woodland: the camera pans over treetops overhead, framed against a blue sky. For the next five minutes, we see shots – mostly static – of more of the same woods, it seems, often with strollers – all men – passing through the images. Sometimes the camera picks out a detail: close-ups of a magpie foraging, a man glimpsed between foliage looking at his phone. We never see faces clearly, and the same figures never reappear. As the sequence of shots unfolds, the light fades to dusk. These are establishing shots in which very little is established.","PeriodicalId":158397,"journal":{"name":"Afterall: A Journal of Art, Context and Enquiry","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125034015","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Under One or Several Flags","authors":"David Teh","doi":"10.1086/717339","DOIUrl":"https://doi.org/10.1086/717339","url":null,"abstract":"","PeriodicalId":158397,"journal":{"name":"Afterall: A Journal of Art, Context and Enquiry","volume":"101 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122605011","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Inaudible and Invisible Matters: Sound and Light in Christina Kubisch’s Sonic Practice","authors":"A. Zeitz","doi":"10.1086/717404","DOIUrl":"https://doi.org/10.1086/717404","url":null,"abstract":"","PeriodicalId":158397,"journal":{"name":"Afterall: A Journal of Art, Context and Enquiry","volume":"95 B9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117217588","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Museum of Modern Art’s International Programme in Southeast Asia (1957–83): The Exhibitions Southeast Asians Appropriated","authors":"Kathleen Ditzig","doi":"10.1086/717400","DOIUrl":"https://doi.org/10.1086/717400","url":null,"abstract":"Expressionism and American modern art: from the critique in 1983 by art historian Serge Guilbaut to Frances Stonor Saunders’s remarks in 1999 around the connections between the CIA and the MoMA35; or David and Cecile Shapiro calling out of the MoMA in 1978 as being funded by the Rockefellers – ‘a clan as refulgent with money and power as American capitalism has produced.’36 These works have been critiqued for inaccuracies in the program’s promotion of Abstract Expressionism, for instance privileging casual links between the MoMA and the USExpressionism, for instance privileging casual links between the MoMA and the US state, and neglecting to attest to the evolving and competing agendas within the US and the MoMA in developing exhibitions.37 Reviewing the history of the International Program in Southeast Asia, we see that: 1) Abstract Expressionism was rarely focussed on or promoted as movement or a style; 2) There was no concerted cultural plan for the export of an American style of modernism – even if McCray attempted this in 1957, the MoMA was too reliant on the support USIA support and local agents for this to have taken place; 3) American actors had less agency than local actors in determining what was presented and Manila and Singapore dominating as sites; 4) and finally technological innovation prevailed with exhibitions largely concerning architecture, city planning and printmaking. Rather than being a result of an ‘influence’ of the West, as Cockroft implies, these observations support the historicisation of abstraction in Southeast Asia as it has been elaborated by scholars such as Patrick Flores, John Clark and T.K. Sabapathy among others. Flores in particular has described abstraction as a ‘negotiated aesthetic of “translocal” cultures’.38 Similarly, Roger Nelson’s work has convincingly argued that artists in the region ‘largely adopted abstraction for their own reasons’ rather than due to any covert promotion by the US.39 After all, even when turning to the canonical moment in Philippine art history, when José T. Joya represented the country at the 1964 Venice Biennale, it was not to the MoMA’s International Program that Joya referred. She presented Abstract Expressionist works and in an interview quoted by Flores, invoked ‘the names of his exemplars...: Pollock, de Kooning, Kline, Rothko, and Motherwell from the U.S....’.40 The MoMA had not sent these works to the Philippines, rather, Joya encountered them on a Fulbright Smith-Mundt grant to earn his Master’s Degree in Painting (1957) whereupon he studied under Zoltan Zepeshy and became influenced by the New York School. Whether in Singapore or in the Philippines, it was the Southeast Asian cultural agent that mobilised and contextualised these exhibitions of the MoMA for their own definition","PeriodicalId":158397,"journal":{"name":"Afterall: A Journal of Art, Context and Enquiry","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126699991","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Sensory Worlds: Rosalind Nashashibi’s Proxemic Lens","authors":"Nav Haq","doi":"10.1086/717402","DOIUrl":"https://doi.org/10.1086/717402","url":null,"abstract":"","PeriodicalId":158397,"journal":{"name":"Afterall: A Journal of Art, Context and Enquiry","volume":"117 6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129460293","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Why Is It So Difficult to Love the World?","authors":"U. M. Bauer, A. Salazar","doi":"10.1086/712844","DOIUrl":"https://doi.org/10.1086/712844","url":null,"abstract":"","PeriodicalId":158397,"journal":{"name":"Afterall: A Journal of Art, Context and Enquiry","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117286081","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Imperceptible Trembling of Things","authors":"Mark Lewis","doi":"10.1086/712843","DOIUrl":"https://doi.org/10.1086/712843","url":null,"abstract":"","PeriodicalId":158397,"journal":{"name":"Afterall: A Journal of Art, Context and Enquiry","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122974834","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Feed the Fires, Tend the Stock 1973/1981/1994/2021","authors":"L. Ford","doi":"10.1086/712847","DOIUrl":"https://doi.org/10.1086/712847","url":null,"abstract":"","PeriodicalId":158397,"journal":{"name":"Afterall: A Journal of Art, Context and Enquiry","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132951405","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Re-purpose and Remake","authors":"A. Mey","doi":"10.1086/712851","DOIUrl":"https://doi.org/10.1086/712851","url":null,"abstract":"","PeriodicalId":158397,"journal":{"name":"Afterall: A Journal of Art, Context and Enquiry","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126748582","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The White Building: Building A Community, A City and Art","authors":"Vuth Lyno","doi":"10.1086/712853","DOIUrl":"https://doi.org/10.1086/712853","url":null,"abstract":"","PeriodicalId":158397,"journal":{"name":"Afterall: A Journal of Art, Context and Enquiry","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127751856","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}