Australian and New Zealand Journal of Art最新文献

{"title":"The Role of Visual Evidence in a New Perspective on Chinese Art History: A Study of Ōmura Seigai’s Two Histories of Chinese Art","authors":"Goto Ryoko","doi":"10.1080/14434318.2021.1934773","DOIUrl":"https://doi.org/10.1080/14434318.2021.1934773","url":null,"abstract":"The Formation of Chinese Painting History and Reception of Chinese Painting in Japan A systematic history of Chinese painting was first established at the beginning of the modern era in Japan. Considering the long history of Sino–Japan relations, this was effectively the first time Japan changed its role from being a receiver to an originator of intellectual discourse. Japan’s modern era also marked a turning point in the country’s reception of Chinese painting. In considering the relationship between these two phenomena, the role of Japanese art historian Omura Seigai 大 村西崖 (1868–1927) is particularly interesting. As a graduate of the inaugural year at the Tokyo School of Fine Arts, Omura had studied art history from Ernest Fenollosa (1853–1908) and Okakura Tenshin 岡倉天心 (n e Okakura Kakuz o 覚三, 1863–1913). He would go on to become an art historian who applied the principles he learnt from the modern discipline of art history to his research on the history of ‘Oriental’ 東洋 (t oy o) or Asian art (in which ‘Asia’ primarily comprised China and Japan). Omura authored two volumes on the history of Chinese painting. Published fifteen years apart, these two histories illustrate a shift that occurred in the perception of Chinese painting, which impacted its reception in modern Japan. It is necessary to first explain the close and complex relationship between studies of Chinese painting history by Chinese and Japanese researchers. When it comes to Chinese art history in the modern sense of the term, whether relating to painting or sculpture, the work of Japanese researchers, in fact, initially preceded and influenced that of their Chinese peers. Moreover, among the Japanese publications, Omura’s can be considered pioneering. One significant reason that a","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60448141","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":"Art and Objects","authors":"W. Hill","doi":"10.1080/14434318.2021.1934782","DOIUrl":"https://doi.org/10.1080/14434318.2021.1934782","url":null,"abstract":"The American philosopher Graham Harman is one of the more lucid writers associated with the ‘material turn’ in humanities scholarship over the last twenty years. Identified with Object-Oriented Ontology (OOO) and Speculative Realism— distant cousins of the likes of New Materialism, Thing Theory and New Realism—Harman is part of a broader movement of theorists who, in the words of Steven Shaviro, are interested in how ‘things are active and interactive far beyond any measure of their presence to us’. While their common ground is much disputed, if there is such a thing as ‘theorists of the material turn’ the deprivileging of human-world relations is key; they advocate not critical modes of debunking, to discover ‘where subjectivity begins and ends’, but more speculative inquiries into non-human agency and the nature of things independent of thought. Like the French sociologist Bruno Latour (whose 2005 slogan ‘Back to Things!’ anticipated this ontological flattening of subjects and objects, turning all into actors), Harman thinks that art plays a valuable role in the contemporary rethinking of things. He states that, when it comes to OOO, ‘aesthetics is first philosophy’. Published in 2020, Art and Objects is the first book to address in detail the place of aesthetics in OOO’s perceptual schema. Unsatisfied by explanations of engagement that focus on subtractive ‘internal’ qualities or imbricated ‘external’ relations of things, OOO instead delivers the world to us as two kinds of objects [O] with two kinds of qualities [Q]—real and sensual [R and S])—thus four separate classes of aesthetic phenomena: RO-RQ, RO-SQ, SO-SQ, and SO-RQ. Whether living, nonliving, natural, artificial, or conceptual, according to OOO all things can be treated as objects whose sensual qualities exist only as translated emanations of some inaccessible real object anterior to presence. From the beginning, Harman makes it clear that his book is not intended as a survey of contemporary art practices. Instead, it reads as an exercise in revitalizing the almost embarrassingly anachronistic subject of beauty under the banner of OOO, defining art as ‘the construction of entities or situations reliably equipped to produce beauty’ (xii). So, what is beauty? Harman’s delectably concise definition is ‘the theatrical enactment of a rift between a real object and its sensual qualities’ (140). As alluded to in the title, Michael Fried’s seminal 1967 essay Art and Objecthood is a key point of comparison throughout. He joins Fried in advocating absorbed and anti-literalist encounters, asking readers to reconsider formalist","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47250671","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 Life of Giovanni Morelli in Risorgimento Italy","authors":"A. Bubenik","doi":"10.1080/14434318.2021.1934786","DOIUrl":"https://doi.org/10.1080/14434318.2021.1934786","url":null,"abstract":"What do the connoisseur, detective and psychoanalyst have in common? This serious riddle was inadvertently raised by the historian Carlo Ginzburg in a brilliant article published more than a generation ago. Ginzburg triangulated art connoisseur Giovanni Morelli with no less than Sherlock Holmes and Sigmund Freud in order to characterise how their methods of direct observation are relevant to histories and theories of knowledge. If close looking, attention to detail, and comparative analyses matter to inquiry, then the question has lost none of its potency today (even if it ends with a disavowal). Pointing to the influence of the connoisseur on the very founding of psychoanalysis, as much as the art of the detective, Ginzburg even used the verb morellising to characterise the methods of all three. Yet of the three subjects featured—Morelli, Freud and Holmes—it is easily Morelli who would be deemed the more obscure. Why? Perhaps this is because Giovanni Morelli (1816–1891) is so closely identified with connoisseurship, his name now a method for attribution, above and beyond any of his other accomplishments. Today connoisseurship is often differentiated and even severed from art history as an outmoded or elitist approach that is endemic to old master paintings. Yet for better or worse, ascertaining authorship remains a current project, central not only to the Rembrandt Research Project, but also the Andy Warhol Foundation and authentications of Banksy’s work, to name but a few examples. From auction houses and the art market to the catalogue raisonn e, connoisseurs have long flexed their muscle and show no signs of abating. This was made abundantly clear in 2017 with the sale of a Salvator Mundi for US$450 million, a sale enabled by experts who declared the painting to be by the hand of Leonardo da Vinci. While connoisseurship may be rarely discussed and even derided in university classrooms, its methods and outcomes are clearly relevant to broader arts industries, as much as public perceptions of what the study of art entails and enables. Art historians are well positioned to critically evaluate such practices. Why has connoisseurship become synonymous with the art market and the commodification of art? When exactly did connoisseurship emerge as an established practice, and what role did Morelli play? And what exactly is the ‘Morellian method’? Professor Jaynie Anderson’s excellent and extensive biography of Morelli—the first—offers an opportunity to consider these questions through the lens of a","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44090626","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":"Material Chineseness: Ink and Porcelain in Contemporary Art beyond National Borders","authors":"Alex Burchmore","doi":"10.1080/14434318.2021.1934775","DOIUrl":"https://doi.org/10.1080/14434318.2021.1934775","url":null,"abstract":"Identity and materiality are intimately and inextricably intertwined. This bond is clear even in the everyday vocabulary of self: velvet skin, silken hair, pearly teeth, a complexion as dark as ebony or pale as porcelain. We signal our regard for an attractive physical quality by ascribing it objective materiality. These epithets for persons-as-objects imply a corresponding vocabulary of objects-as-persons, exemplified by the anthropomorphism of ceramic terms: mouth, belly, foot, shoulder, lip, for example. Certain materials also lend themselves to cultural affiliation— Chinese porcelain, African ivory, American cotton, Australian ochre—often used to support essentialist assertions of identity. If specifically material qualities are emphasised, however, correspondence between objects and individuals can provide a flexible model of identification in which such abstractions are replaced with a tangible, historically and geographically inflected specificity. Anne Anlin Cheng has provided a useful theoretical framework for this understanding of racial and cultural identity, with the model of ‘ornamental personhood’ outlined in Ornamentalism, her paradigm-shifting study of Asian femininity, in which she traces the complex relations of accumulation and adaptation fusing subjects and objects. Through a focused analysis of porcelain and ink as case studies for this phenomenon in a Chinese context, this paper proposes a parallel model of ‘material Chineseness’ as a substitute for the established paradigm of cultural China, theorised most notably by New Confucian philosopher Tu Weiming. In contrast to the ideals of linear continuity and radiating diffusion from a perceived centre to which this paradigm lends authority, material Chineseness is intended to foreground the diffuse, diverse, and adaptable dimensions of cultural identification. In Australia, Ah Xian’s 阿仙 (b. 1960) China China series (1998–2004) has shown the suitability of porcelain for this conceptual model, while works by Taiwaneseborn Charwei Tsai 蔡佳葳 (b. 1980) and Hong Kong–born Hung Keung 洪强 (b. 1970) demonstrate that ink, too, can support circulations of Chineseness","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44132974","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 Absurd and the Surreal: Photographic Works of Deng Nan-guang and Chang Chao-tang as Artistic Self-Constructs of the Taiwanese Subaltern Counterpublic","authors":"K. Su","doi":"10.1080/14434318.2021.1934776","DOIUrl":"https://doi.org/10.1080/14434318.2021.1934776","url":null,"abstract":"Introduction Deng Nan-guang 鄧南光 (1907–1971) and Chang Chao-tang 張照堂 (b. 1943) are two photographers revered for their immense contributions to the development of photographic practice in Taiwan. Their names and works are regularly cited as cornerstones of modern Taiwanese artistic expression. Deng, the more senior of the two, enjoyed a most productive phase in the years surrounding the end of the Japanese colonial period in Taiwan (1895–1945). His sojourns across the island from around 1935 to 1960 culminated in thousands of photographs reminiscent of Paul Wolff’s 35-mm candids of life in the ailing days of the Weimar Republic. Chang, whose representative period can be roughly bookended by his earliest works around 1960 and the Nationalist 中國國民黨 (also known as the Kuomintang or KMT) government’s lifting of martial law in 1987, likewise drew from humanist traditions of European street photography with a passing acknowledgement of Brassaï and Henri Cartier-Bresson and a heady mix of the earlier, formalist tastes of L aszl o Moholy-Nagy and the absurdity of Man Ray. A discussion of Deng and Chang is one that inevitably intersects with critical examinations of Taiwanese identity politics. Deng’s years as an outsider from the peripheries of the Empire of Japan while residing in Tokyo (1924–1934) and his later return to Taipei (then known as Taihoku-sh u) greatly conformed his practice to that of the colonised perspective. Similarly, the Nanjing-based Republic of China’s (ROC’s) assumption of control over Taiwan in 1945 and its subsequent occupation of the island in late 1949 as a state-in-exile was to become a recurring backdrop to Chang’s own creative viewpoint. Here, the works of both photographers can be arguably recognised as instruments of subaltern counterpublic discourse.","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44886002","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":"Rethinking Australia’s Art History: The Challenge of Aboriginal Art","authors":"D. Jorgensen","doi":"10.1080/14434318.2021.1934785","DOIUrl":"https://doi.org/10.1080/14434318.2021.1934785","url":null,"abstract":"In Rethinking Australia’s Art History, Susan Lowish makes a discursive history of Aboriginal art out of the writings of explorers, ethnographers and enthusiasts during the nineteenth century. The quality of the monograph is to put early writers on the subject into a coherent story and context. There are some familiar names here but many of these nascent scholars are little known outside small circles of Australian specialists. Lowish makes the case that their varying accounts of artefact making and rock art laid the groundwork for the collection and exhibition of Aboriginal art in the twentieth century. Aboriginal art is a notoriously difficult concept, one that created more problems than it solved as it defined generations of artists by their race rather than their work. Lowish’s historiography takes a step back from both artists and work in order to think about Aboriginal art as a ‘variation on a period style’ but one that is ‘not defined according to style or iconography’ (13). Periodisation has been unfashionable since the New Art History of the 1970s, its generalisations about sweeping swathes of time all too implicated in the big man histories that once dominated schools and universities. Here Lowish wants to rescue the term, but in a careful excavation of writings by men on pith hatted expeditions and wearing Church collars. These were the men who laid the foundations for the reception of Aboriginal art by arranging spears and shields into exhibitions and diagrams of development. The result is an art defined by evolution and speculation, in lives imagined to be close to rudimentary nature. The writing and collecting of personalities such as George Grey and Baldwin Spencer play a powerful part here, and yet for all of their impact they were more interested in other things. Grey was doing a survey of north-west Australia, while Spencer’s ardent trade for bark paintings, coolamons, shields and everything else he could parley for has left a largely undocumented collection. He never quite got around to writing the book he once imagined on Aboriginal art, and in this he is typical of most of these early writers as they dabbled rather than focused on the topic. Yet it was this dabbling that set into motion the conversations and discriminations that constituted Aboriginal art’s coming of age in the twentieth century. It is a wonder that Aboriginal art gained any traction at all with the Australian public after some of the oddball analyses Lowish describes here, most notoriously Grey’s theory that the Wandjina rock art was painted by people from beyond Australia’s shores. This set into motion a series of misinterpretations of the visual culture of the north-west, including pastoralist Joseph Bradshaw’s reading of the","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43852252","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":"Robert William Smith 1928–2020","authors":"Ron Wilkes, J. Richardson","doi":"10.1080/14434318.2021.1934787","DOIUrl":"https://doi.org/10.1080/14434318.2021.1934787","url":null,"abstract":"","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42282221","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":"Bauhaus Diaspora and Beyond: Transforming Education through Art, Design and Architecture","authors":"Anthony White","doi":"10.1080/14434318.2021.1934784","DOIUrl":"https://doi.org/10.1080/14434318.2021.1934784","url":null,"abstract":"Bauhaus Diaspora and Beyond: Transforming Education through Art, Design and Architecture, edited by Ann Stephen, Isabel W€ unsche, Andrew McNamara, Harriet Edquist, Philip Goad, Melbourne University Publishing and Power Publications, 2019, 288 pages, AUD$64.99 paperback and Melbourne Modern: European Art & Design at RMIT Since 1945, edited by Jane Eckett and Harriet Edquist, exhibition catalogue, RMIT Gallery, 2019, 153 pages. https://issuu.com/rmit610/docs/ melbmod_catalogue_152pp_issuu","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46370537","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":"Cruel Visions: Reflections on Artists and Atrocities.","authors":"Joanna Bourke","doi":"10.1080/14434318.2020.1764226","DOIUrl":"10.1080/14434318.2020.1764226","url":null,"abstract":"","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7455084/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"38487195","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Case of Hypothetical Art: From Philosophy of Art to Contemporary Art Practice","authors":"Jurij Selan","doi":"10.1080/14434318.2020.1837373","DOIUrl":"https://doi.org/10.1080/14434318.2020.1837373","url":null,"abstract":"Introduction In previous writings, I have introduced a concept of a hypothetical art, which I have defined as a mental creation of an art philosopher, intended to attract a reader to become fictionally involved in an art issue. However, further research has led me to recognise the dual role of hypothetical art, one in the philosophy of art and one in contemporary art practice. The intention of the present paper is to delve into this issue.","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14434318.2020.1837373","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48363227","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}