Journal of Visual Art Practice最新文献_第5页

Scenes from the history of the art school 艺术学校历史上的场景

Journal of Visual Art Practice Pub Date : 2022-10-02 DOI: 10.1080/14702029.2022.2122240

R. Hudson-Miles, Andrew Broadey

{"title":"Scenes from the history of the art school","authors":"R. Hudson-Miles, Andrew Broadey","doi":"10.1080/14702029.2022.2122240","DOIUrl":"https://doi.org/10.1080/14702029.2022.2122240","url":null,"abstract":"ABSTRACT The following essay proceeds through twenty-one visual and textual ‘scenes’ from the complex history of the art school, as a contribution to debates about its political character. The title is taken from Jacques Rancière’s (2013) Aisthesis. This is Rancière’s most sustained exposition of the ‘aesthetic regime of art’. His strategy in this book is to juxtapose ‘the event’ of an artwork against ‘the interpretive network which gives it meaning’ (2013, ix). He is specifically interested in the transition between different ‘regimes of art’. The scenes in this article map the transition from what Rancière calls the ‘representative regime’ to the ‘aesthetic regime’ on to the historical, pedagogical, ideological, and political evolution of the modern art school. These scenes roughly cover the period from the formation of the Royal Academy in 1768 to the art school protests in 1968. They also include references to the nineteenth-century UK Schools of Design, Socialist Realism, Greenbergian Modernism, Althusserian ideology critique, and the Bauhaus. This essay is a sketch leading toward a longer, non-linear, counter-history of the art school.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"17 1","pages":"311 - 336"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81710633","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}

引用次数: 0

All that is solid melts in the Ethereum: the brave new (art) world of NFTs 所有坚实的东西都融化在以太坊:nft的勇敢的新(艺术)世界

Journal of Visual Art Practice Pub Date : 2022-10-02 DOI: 10.1080/14702029.2022.2129204

A. Notaro

{"title":"All that is solid melts in the Ethereum: the brave new (art) world of NFTs","authors":"A. Notaro","doi":"10.1080/14702029.2022.2129204","DOIUrl":"https://doi.org/10.1080/14702029.2022.2129204","url":null,"abstract":"ABSTRACT This article explores non-fungible tokens, better known as NFTs, or blockchain-based certificates of ownership for visual or physical assets, a cultural phenomenon which has come to the media attention following the sale of a non-fungible token photo collage, Everyday: The First 5,000 Days, for more than 69 million USD at a Christie's auction in March 2021. The sale made Mike Winkelman (aka Beeple) the third most valuable living artist, behind Jeff Koons and David Hockney starting off a conversation about NFTs which has covered a wide range of issues, including: the contested relationship between art and the market, the long debated question of collective and/or individual authorship within digital aesthetics, the most recent developments in Artificial Intelligence and their creative potential with regard to NFTs – i.e. the appearance of intelligent non-fungible tokens (iNFTs) – and, lastly, the role of cryptocurrencies as a tool for artists’ empowerment or, conversely, as a selling out, under new technological guises, to the capitalist logic of the market. The article reviews and evaluates such debates with the aim to offer critical pointers to help the reader navigate the emerging world of Crypto art.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"1 1","pages":"359 - 382"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79933977","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}

引用次数: 5

Breaking the frame in traditional Persian paintings, a prelude to remediation 打破传统波斯绘画的框架，是补救的前奏

Journal of Visual Art Practice Pub Date : 2022-09-30 DOI: 10.1080/14702029.2022.2069399

Bagher Bahram Shotorban, Aliasghaar Fahimifar, Mohammad Ali Safoora, Y. Sekhavat

{"title":"Breaking the frame in traditional Persian paintings, a prelude to remediation","authors":"Bagher Bahram Shotorban, Aliasghaar Fahimifar, Mohammad Ali Safoora, Y. Sekhavat","doi":"10.1080/14702029.2022.2069399","DOIUrl":"https://doi.org/10.1080/14702029.2022.2069399","url":null,"abstract":"ABSTRACT Frame breaking in traditional Persian paintings, also known as Persian miniature, is a practice where parts of the frame are intentionally left open for some painting elements to exit the frame. This repeatedly occurred in this tradition; and was used methodically in Herat and Tabriz II schools. However, the motivation behind it is not completely known. Persian miniature, in its heyday, departed from its structural form and esthetic principles mostly because of its acquaintance and fusion with the then new form of European paintings and its most notable technique, linear perspective. Frame breaking could be thought of a sign of remediation and reform in Persian miniature. More specifically, frame breaking was a premediation sign, which would shape the later changes in traditional Persian paintings. As such, by emphasizing the frame, albeit broken rather than eliminating it, we become aware of the medium or media. This interpretation is adopted from hypermediacy according to Bolter and Grusin’s remediation theory. Here, an attempt is made to analyze the practice of frame breaking in traditional Persian paintings through this theory.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"54 1","pages":"337 - 357"},"PeriodicalIF":0.0,"publicationDate":"2022-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86872665","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}

引用次数: 0

Tracing the minor gesture in painting: a shift from reflection to diffraction 描摹绘画中的小姿态:从反射到衍射的转变

Journal of Visual Art Practice Pub Date : 2022-07-03 DOI: 10.1080/14702029.2022.2103984

Sarah Munro

引用次数: 0

Sally Madge: acts of reclamation and renewal between site, studio, archive and gallery Sally Madge:场地，工作室，档案馆和画廊之间的开垦和更新行为

Journal of Visual Art Practice Pub Date : 2022-07-03 DOI: 10.1080/14702029.2022.2108198

Ysanne Holt, Matthew Hearn

引用次数: 0

An art museum in every mall? Persuasive spaces for contemporary art in China 每个购物中心都有艺术博物馆?中国当代艺术的说服力空间

Journal of Visual Art Practice Pub Date : 2022-05-23 DOI: 10.1080/14702029.2022.2061750

Nuo Lin

{"title":"An art museum in every mall? Persuasive spaces for contemporary art in China","authors":"Nuo Lin","doi":"10.1080/14702029.2022.2061750","DOIUrl":"https://doi.org/10.1080/14702029.2022.2061750","url":null,"abstract":"ABSTRACT This paper offers a critical consideration of the proliferation of art museums situated in shopping malls in China. Creating interventions of art and the art museum within retail structures can be conceptually understood as a synthesis development model, whereby the combination of art and commerce is adopted by real estate enterprises in China. The operational characteristics of mall museums reflect a growing tendency for art to be used instrumentally to align with everyday life: an aestheticisation of the ordinary. In the late twentieth century, postmodernism placed great emphasis on the blurring of boundaries between art and everyday life, signalling the collapse of the distinction between high art and mass/popular culture [Baudrillard, Jean. 1983. Simulations. New York: Semiotext; Featherstone, Mike. 1990. Consumer Culture and Postmodernism, 64–80. London: SAGE Publications]. Nonetheless, through the example of the Chi Shanghai K11 Art Mall, this paper considers public engagement practices where ‘art is for the masses’ within such structures to explore whether curatorial strategies and art practices are influenced through a constant adaptation into ‘art museum retail’. It also aims to consider whether the development of these ‘persuasive spaces’ thus has the potential to include experimentation and knowledge production.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"10 1","pages":"217 - 240"},"PeriodicalIF":0.0,"publicationDate":"2022-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75888472","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}

引用次数: 1

Painted spaces: an exploration through embodied and expansive practice 绘画空间:通过具象化和扩张性实践的探索

Journal of Visual Art Practice Pub Date : 2022-05-19 DOI: 10.1080/14702029.2022.2056800

Asmita Sarkar

{"title":"Painted spaces: an exploration through embodied and expansive practice","authors":"Asmita Sarkar","doi":"10.1080/14702029.2022.2056800","DOIUrl":"https://doi.org/10.1080/14702029.2022.2056800","url":null,"abstract":"ABSTRACT This article investigates the nature of perceptual and actual spaces created and occupied by painting. The focus is on two artistic projects taken up by the author that incorporate sculptural elements and site-specific explorations to create a series of work. The body of work retains characteristics unique to painting. These projects are situated against the background of a similar trend in contemporary painting that sees many painters taking their painterly gesture outside of the bounds and flat surface of the canvas. This investigation is also a search for establishing theory-practice relation as the author's own practice is analysed with the support of Maurice Merleau-Ponty's phenomenological theory of embodied perception. This theory proposes the radical notion that sensation is an active reflective process and vision works in unity with different tactile and kinaesthetic senses. Reflective analysis of author's evolving practice – from the two-dimensional flat canvas to expansive installations on the terrain of a Himalayan village – opens up a productive opportunity for exploring how contemporary paintings incorporate and respond to space. Application of pigments through gestural brushstrokes on appropriate surfaces and strategically positioning these painted surfaces following compositional rules are ways of creating paintings in an expanded space.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"33 1","pages":"195 - 216"},"PeriodicalIF":0.0,"publicationDate":"2022-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86189214","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}

引用次数: 0

The (de)situated subjective: a cognitive autoethnography of ‘the New York School’ (de)定位主观:“纽约学派”的认知自我民族志

Journal of Visual Art Practice Pub Date : 2022-04-03 DOI: 10.1080/14702029.2022.2069917

Suk Kyoung Choi

{"title":"The (de)situated subjective: a cognitive autoethnography of ‘the New York School’","authors":"Suk Kyoung Choi","doi":"10.1080/14702029.2022.2069917","DOIUrl":"https://doi.org/10.1080/14702029.2022.2069917","url":null,"abstract":"ABSTRACT In this article I initiate an inquiry into the artistic act and its relation to self-expression in an age of computational virtuality, a time when subjectivity is being subsumed by ubiquity and its requisite social mediation. Starting from my painting practice, I attempt to access the tacit aesthetic prior to the emergence of the algorithmic mediation permeating contemporary culture, by exploring metaphor in precomputational artistic praxis. I examine the entanglement of self and context in a ‘cognitive autoethnography' reflecting on artists' reports from late Modernism, a time when subjectivity found focus in the studio of the individual practitioner, not across networks of digital mediation. I examine metaphors of curiosity and intuition in the creative ‘play’ of artists to offer a qualitative analysis of 10 articles published in ARTnews magazine during the 1950s and 1960s interviewing Abstract Expressionist artists of the New York School. I seek the individual in the creative act to relocate myself as a practitioner in our age of distributed subjectivity. The study brings into question presumptions about sampling and interpretation, explores the subjective dimensions of creative praxis and speculates on what we – as artists and humanists – may be losing in the algorithmic transformation of embodied creative intentionality.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"189 1","pages":"97 - 132"},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77344343","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}

引用次数: 0

Environmental sustainability through recycled polythene textile art 环境可持续性通过回收聚乙烯纺织艺术

Journal of Visual Art Practice Pub Date : 2022-04-03 DOI: 10.1080/14702029.2022.2069918

Alex Osei Afriyie, B. Asinyo, R. Seidu, Charles Frimpong

{"title":"Environmental sustainability through recycled polythene textile art","authors":"Alex Osei Afriyie, B. Asinyo, R. Seidu, Charles Frimpong","doi":"10.1080/14702029.2022.2069918","DOIUrl":"https://doi.org/10.1080/14702029.2022.2069918","url":null,"abstract":"ABSTRACT Polythene bags, more commonly referred to as single-use plastics, are lightweight, non-biodegradable materials that pose numerous environmental threats. Recent research conducted by researchers and textile artists has sought to raise awareness about their effects. This studio practice recycled polythene bags into polythene weft yarns, interlaced with polyester warp yarns on a broadloom to create fabrics. This studio practice took place on the campus of Kwame Nkrumah University of Science and Technology in Kumasi, Ghana. Polythene bags were converted into yarns in continuous strands using soldering and knotting techniques. The studio creative process was guided by studio-based practice in accordance with the qualitative research design. The findings from the exploration phase and prototyping stage provided invaluable insight into creating the final woven fabrics. This study demonstrates the possibility of combining polyester warp yarns with recycled polythene bags as weft yarns into textile art. It also created the needed awareness to reduce the consumption of polythene bags in the country. Assessments from the study participants on the wearability and comfortability of the woven fabrics revealed that they are stiff and rough, making them only suitable as textile art.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"53 1","pages":"175 - 194"},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88248449","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}

引用次数: 1

Frank Gehry’s non-trivial drawings as gestures: drawdlings and a kinaesthetic approach to architecture 弗兰克·盖里的不平凡的绘画作为手势:拖沓和动觉的建筑方法

Journal of Visual Art Practice Pub Date : 2022-02-22 DOI: 10.1080/14702029.2021.2022292

Marianna Charitonidou

{"title":"Frank Gehry’s non-trivial drawings as gestures: drawdlings and a kinaesthetic approach to architecture","authors":"Marianna Charitonidou","doi":"10.1080/14702029.2021.2022292","DOIUrl":"https://doi.org/10.1080/14702029.2021.2022292","url":null,"abstract":"ABSTRACT Departing from the intention to explore Frank Gehry’s drawings serving to their own designer to grasp ideas during the process of their genesis, the article examines Frank Gehry’s concern about the revelation of the first gestural drawings and all the sketches and working models concerning the evolution of his projects, and his intention to capture the successive transformation and progressive concretisation of architectural concepts. The article also compares Gehry’s design process with that of Enric Miralles, Alvar Aalto, Bernard Tschumi, and Le Corbusier. It sheds light on Miralles, Aalto, Le Corbusier and Gehry’s interest in a holistic understanding of all the parts of an architectural project, which is expressed through their tendency to draw the different sketches concerning the same project on the same sheet of paper. At the core of Gehry’s design approach is the osmosis of function and morphology. This aspect of his design vision could be compared to Alvar Aalto’s design process. At the core of the article are the distinction between communication drawings and conceptual drawings, and Gehry’s concern about achieving an osmosis between function and morphology. The article also investigates Gehry’s use of uninterrupted self-twisting line in his sketches, exploring his intention to enhance a straightforward relationship between the gesture and the decision-making regarding the form of the building.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"5 1","pages":"147 - 174"},"PeriodicalIF":0.0,"publicationDate":"2022-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80850049","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}

引用次数: 1