Journal of Visual Art Practice最新文献_第8页

Fashioning contemporary art: a new interdisciplinary aesthetics in art-design collaborations 塑造当代艺术:艺术与设计合作中的一种新的跨学科美学

Journal of Visual Art Practice Pub Date : 2021-04-03 DOI: 10.1080/14702029.2021.1940454

N. McCartney, J. Tynan

{"title":"Fashioning contemporary art: a new interdisciplinary aesthetics in art-design collaborations","authors":"N. McCartney, J. Tynan","doi":"10.1080/14702029.2021.1940454","DOIUrl":"https://doi.org/10.1080/14702029.2021.1940454","url":null,"abstract":"ABSTRACT A surge in creative collaboration between fine artists and fashion designers might be troubling the art world, but these mergers have prompted little debate within academic research in the visual arts. Various artists now work directly with fashion designers, and though often derided by the art press, the growth of inter-disciplinary collaboration reflects a shift in how art is perceived, especially in relation to popular culture. This discussion considers historical moments when fashion and art found common cause, but we view the distinctive qualities of recent collaborative ventures as an entrenchment of postmodernist aesthetics in both realms. Since the mid-twentieth century, art-fashion interplays have disorganised disciplinary boundaries, but they also illustrate the unsettling effects of neoliberalism on cultural production. By exploring the fashioning of contemporary art through the work of various artists and designers, including Matthew Barney, Vanessa Beecroft and Yayoi Kusama, we ask whether shared concerns in art and design around power, spectacle and the somatic might signal the emergence of a new interdisciplinary aesthetics.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"43 1","pages":"143 - 162"},"PeriodicalIF":0.0,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87411212","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: 16

Affirming Aboriginal identities: art production in central Queensland 确认土著身份:昆士兰州中部的艺术生产

Journal of Visual Art Practice Pub Date : 2021-04-03 DOI: 10.1080/14702029.2021.1917906

B. Fredericks, Abraham Bradfield

{"title":"Affirming Aboriginal identities: art production in central Queensland","authors":"B. Fredericks, Abraham Bradfield","doi":"10.1080/14702029.2021.1917906","DOIUrl":"https://doi.org/10.1080/14702029.2021.1917906","url":null,"abstract":"ABSTRACT Alongside Toonooba (the Fitzroy River) in central Queensland, Australia, a series of flood markers are embedded within the earth, commanding attention to the river that flows on one side and the colonial infrastructure of Rockhampton on the other. Honouring Land Connections is an artwork that asserts Indigenous voices, marks Indigenous spaces, and encourages visitors to engage in conversation with Indigenous culture and art. This paper considers Indigenous art as a form of social action. Firstly, it discusses the value of such art projects, and presents an Indigenous perspective of their meaning, addresses their role in creating and embodying culture and identity, how they express and share culture, along with collaborative approaches, and the importance of learning on and from Country. It concludes with a discussion of the political and cultural meaning created through art, suggesting that it is impossible for a public artwork like Honouring Land Connections to not be political. This article explores how art facilitates an interactive social space through which Aboriginal artists affirm, negotiate and share their identities while challenging preconceptions of place and identities reminding us that Aboriginal presence outlasts the moment of its production and imprints itself on the landscape and people’s consciousness.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"91 1","pages":"31 - 47"},"PeriodicalIF":0.0,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77538046","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: 3

Folk culture China in the China Pavilion, Venice Biennale: repositioning ‘Chineseness’ in contemporary art discourse 威尼斯双年展中国馆中的中国民俗文化:在当代艺术话语中重新定位“中国性”

Journal of Visual Art Practice Pub Date : 2021-04-03 DOI: 10.1080/14702029.2021.1921484

Wang Jiabao

{"title":"Folk culture China in the China Pavilion, Venice Biennale: repositioning ‘Chineseness’ in contemporary art discourse","authors":"Wang Jiabao","doi":"10.1080/14702029.2021.1921484","DOIUrl":"https://doi.org/10.1080/14702029.2021.1921484","url":null,"abstract":"ABSTRACT In this article, I explore how Qiu Zhijie’s curation of the exhibition Continuum – Generation by Generation at the China Pavilion of the 57th Venice Biennale offers a new understanding of ‘China’ and ‘Chineseness’. It is neither a reproduction of literati arts nor a critical use of symbols of socialist China, but an appropriation of Chinese folk culture to re-envision the central role of China in the global art scene. This new form of Chineseness is what I call ‘folk culture China’. Although the curator attempts to challenge the existing interpretation of contemporary Chinese art widely circulated in the art market, the curatorial strategy deployed in this exhibition inherits a culturalist view of Chinese culture by re-nationalizing folk culture as the essence of Chinese culture that sustains Chinese civilization. Folk culture China also highlights the importance of collaboration between folk and contemporary artists in which the former can remind the latter of the collective spirit embodied in craftsmanship, which is the core of the Chinese mode of art-making. More importantly, folk culture China is an anti-nation-statist discourse that paradoxically repositions China from an object of the Euro-American-centric contemporary art system to the center of the world.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"1 1","pages":"81 - 96"},"PeriodicalIF":0.0,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81708180","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: 2

An ecoaesthetic of vegetal surfaces: on Seed, Image, Ground as soft montage 植物表面的生态美学:将种子、影像、地面作为软蒙太奇

Journal of Visual Art Practice Pub Date : 2021-04-03 DOI: 10.1080/14702029.2021.1917858

J. Parikka, A. Gil-Fournier

引用次数: 1

Operating in alternative photography: agency through prolonged photographic acts 从事另类摄影:通过长时间的摄影行为代理

Journal of Visual Art Practice Pub Date : 2021-04-03 DOI: 10.1080/14702029.2021.1917908

Vicente Pla-Vivas

引用次数: 0

Painting encounters with environments: experiencing the territory of familiar places 绘画与环境的相遇:体验熟悉地方的领地

Journal of Visual Art Practice Pub Date : 2021-04-03 DOI: 10.1080/14702029.2021.1925856

A. Watson

{"title":"Painting encounters with environments: experiencing the territory of familiar places","authors":"A. Watson","doi":"10.1080/14702029.2021.1925856","DOIUrl":"https://doi.org/10.1080/14702029.2021.1925856","url":null,"abstract":"ABSTRACT Paintings and other symbolised image systems contribute to the way we see and understand the world, however accurate or flawed they may be. My research contributes to this conversation by investigating how to make paintings that allow environments to be creative protagonists rather than passive objects of representation. I do this by drawing from the painting practices of Julie Mehretu and Ingrid Calame to look at how their work registers the experience of place and use these findings to guide my practice-based research, contextualised by ‘new materialist’ theory. The research shows how unpredictability in the process of painting allows the experience of place to be registered in ways that are responsive to materials and the site; how gesture is used to reveal something about the material and the immaterial world; and how the conversations happening between different levels of experience and modes of representation in the paintings help to yield a dense and complex view of place. Through this study, I have found that paintings can make manifest the relationships between process, gesture, environments and artists and in this way can reveal the experience of place in unexpected and multifarious ways. GRAPHICAL ABSTRACT","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"117 1","pages":"113 - 130"},"PeriodicalIF":0.0,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76936103","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

Inclined language: a visual, material practice 倾斜语言:一种视觉的、物质的实践

Journal of Visual Art Practice Pub Date : 2021-04-03 DOI: 10.1080/14702029.2021.1933835

I. Rozas

{"title":"Inclined language: a visual, material practice","authors":"I. Rozas","doi":"10.1080/14702029.2021.1933835","DOIUrl":"https://doi.org/10.1080/14702029.2021.1933835","url":null,"abstract":"ABSTRACT This paper addresses the experiential field of artistic pieces that incline language and words to work from their sound, material and rhythmic dimension. They are poetic and sound works freed from the verticality, rectitude and weight of the semantic. In our ordinary experience of language we forget the physical existence of words, their sounds, their rhythms. Without that physicality, words become transparent, completely resolved into what they mean. To incline them means to give them sound and rhythm. It means to make them material, bringing them to our attention and reconnect with their physical existence: the possibility of becoming an image. From the concept of inclination developed by Adriana Cavarero as a relational model against verticality – to rethink a subjectivity marked by vulnerability – it is argued that inclining language, allows us to question ourselves about the ways in which sound relates to images, as it will be seen through works by Itziar Okariz and Gertrude Stein. A leaning that also dialogues with the ways of deviation from the established language proposed by Julia Kristeva and Hélène Cixous. In turn, we re-experience our relationship with the materiality of language, the act of listening, as well as the visuality of sounds.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"1 1","pages":"131 - 142"},"PeriodicalIF":0.0,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90041863","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

No creation without destruction: images of childbirth and Candice Breitz's Labour 没有毁灭就没有创造:分娩的图像和坎迪斯·布雷茨的《劳动》

Journal of Visual Art Practice Pub Date : 2021-04-03 DOI: 10.1080/14702029.2021.1917907

Tereza Stejskalová

{"title":"No creation without destruction: images of childbirth and Candice Breitz's Labour","authors":"Tereza Stejskalová","doi":"10.1080/14702029.2021.1917907","DOIUrl":"https://doi.org/10.1080/14702029.2021.1917907","url":null,"abstract":"ABSTRACT The following essay explores a video installation by Berlin-based artist Candice Breitz (b. 1972) titled Labour (2019) which presents us with graphic images of childbirth in reverse viewed from close up. The work casts light on the absence of birthing bodies in photography, moving images or other forms of visual art presented at art institutions, a topic not reflected upon in academic literature. Also, by portraying childbirth simultaneously as dying and killing, Labour starkly differs from mainstream visual culture representations, which tend to evade the more messy and unruly aspect of childbirth. The author situates the work in the context of recent interventions in theory and literature as well as Labour's feminist art precursors. These art works present us with a fearless, uncensored picture of the reality of childbirth in which the possibility that lives are rerouted, and people are damaged both physically and mentally, is palpable. As testaments of traumatic events that resist erasure from memory, these objects of art dissociate themselves from the present dominant ideologies surrounding reproduction to gesture towards an alternative future in which conditions for reproduction would be radically different.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"1 1","pages":"48 - 63"},"PeriodicalIF":0.0,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82340358","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

Worlds without humans in the time of Anthropos: on David Claerbout's photo-filmic strategies 人类时代没有人类的世界:大卫·克莱尔布特的摄影电影策略

Journal of Visual Art Practice Pub Date : 2020-11-25 DOI: 10.1080/14702029.2020.1848282

S. Oscar

{"title":"Worlds without humans in the time of Anthropos: on David Claerbout's photo-filmic strategies","authors":"S. Oscar","doi":"10.1080/14702029.2020.1848282","DOIUrl":"https://doi.org/10.1080/14702029.2020.1848282","url":null,"abstract":"ABSTRACT David Claerbout is a contemporary artist working in the field of photography, film and digital animation, employing a range of aesthetic strategies to address shifting ideologies of vision: attention to light and time; the erasure of narrative in cinematic representation. This paper considers the political import of such strategies from an Australian perspective, in light of recent environmental catastrophe and extinction in the Anthropocene, whereby the depiction of worlds without humans occupies a space in the collective imagination signifying ruination. The paper examines Claerbout’s recent works, Olympia (the Real-Time Disintegration into Ruins of the Berlin Olympic Stadium over the Course of a Thousand Years) (2016) and The pure necessity (2016). It argues for the relevance of his work to posthumanist writings on extinction; for instance, Claire Colebrook and Joanna Zylinska, whereby the human desire to visualize ‘the world without us’ is problematized as an overtly anthropocentric celebration of human vision. I argue that Claerbout's expanded photo-filmic practice reveals how artistic production might tackle the problem of responsibly providing frameworks to consider the world outside of an anthropocentric viewpoint. Considering his work from such a framework, I ask, what does it take to represent the world without us?","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"50 1","pages":"1 - 15"},"PeriodicalIF":0.0,"publicationDate":"2020-11-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88742339","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

Makers’ voices: four themes for material literacy in contemporary sculpture 创客的声音:当代雕塑中物质素养的四个主题

Journal of Visual Art Practice Pub Date : 2020-10-01 DOI: 10.1080/14702029.2020.1844945

Ellie Barrett

引用次数: 0