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Introduction to Tomás Maldonado's “The Abstract and the Concrete in Modern Art” and Alfredo Hlito's “Notes toward a Materialist Aesthetics” 托马斯·马尔多纳多的《现代艺术中的抽象与具体》和阿尔弗雷多·赫利托的《唯物主义美学札记》简介
IF 0.2 2区 艺术学
ARTMargins Pub Date : 2023-02-01 DOI: 10.1162/artm_a_00342
Megan A. Sullivan
{"title":"Introduction to Tomás Maldonado's “The Abstract and the Concrete in Modern Art” and Alfredo Hlito's “Notes toward a Materialist Aesthetics”","authors":"Megan A. Sullivan","doi":"10.1162/artm_a_00342","DOIUrl":"https://doi.org/10.1162/artm_a_00342","url":null,"abstract":"Abstract This introductory study analyzes two key texts from the short-lived Argentine collective, the Asociación Arte Concreto-Invención (Association of Concrete Art-Invention, or AACI). Published in 1946 in the same issue of the group's official organ, they collectively theorize the “co-planar,” the AACI's key contribution to the history of abstract and concrete painting. While Maldonado's text offers a historical reconstruction of the genealogy of the co-planar as the culmination of modernist investigations of the plane and the problem of composition, Hlito's text outlines the understanding of Marxist materialism and dialectics that underpinned this particular take on the task of modernism.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"127-134"},"PeriodicalIF":0.2,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44591571","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Contributors 贡献者
2区 艺术学
ARTMargins Pub Date : 2023-02-01 DOI: 10.1162/artm_x_00357
{"title":"Contributors","authors":"","doi":"10.1162/artm_x_00357","DOIUrl":"https://doi.org/10.1162/artm_x_00357","url":null,"abstract":"","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135146424","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Degraded Objects, Harrowed Bodies: Roman Stańczak and Shock Therapy in Poland, 1990–96 被降解的物体,被撕裂的身体:Roman Stańczak和波兰的休克疗法,1990–96
IF 0.2 2区 艺术学
ARTMargins Pub Date : 2022-10-01 DOI: 10.1162/artm_a_00325
Dorota Jagoda Michalska
{"title":"Degraded Objects, Harrowed Bodies: Roman Stańczak and Shock Therapy in Poland, 1990–96","authors":"Dorota Jagoda Michalska","doi":"10.1162/artm_a_00325","DOIUrl":"https://doi.org/10.1162/artm_a_00325","url":null,"abstract":"Abstract Roman Stańczak's artistic practice can be seen as a symptomatic expression of the multi-layered processes of degradation as experienced in some Polish regions with the advent of capitalism and the country's entry into the global market at the turn of the 1990s. The neoliberal reforms in Poland brought about dramatic social consequences, leading to an exponential increase in income inequality, unemployment rate and the share of population living below the minimum subsistence level. On the rise throughout the 1990s and reaching its peak in the 2000s, the degradation suffered by some social groups and communities was both material and psychological, social and class-related. Stańczak's performances and sculptures, with their depictions of ruined, wounded and degraded bodies and objects, closely correspond to that reality, which for a long time remained outside the scope of interest of Polish neoliberal parties and the media sphere, which fully endorsed the government's policies throughout the 1990s.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"11 1","pages":"48-66"},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49093146","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Sadism to Solidarity: Notes on Art, Philosophy, and the Algerian War 从悲伤到团结:艺术、哲学与阿尔及利亚战争札记
IF 0.2 2区 艺术学
ARTMargins Pub Date : 2022-10-01 DOI: 10.1162/artm_a_00323
A. Toscano
{"title":"Sadism to Solidarity: Notes on Art, Philosophy, and the Algerian War","authors":"A. Toscano","doi":"10.1162/artm_a_00323","DOIUrl":"https://doi.org/10.1162/artm_a_00323","url":null,"abstract":"Abstract This essay considers a range of artistic and intellectual responses to the Algerian War of Independence that foregrounded the problem of extreme violence. It homes in on the suggestive nexus between anti-colonial solidarities in the metropole and the obsessive concern of artistic, literary, and philosophical avant-gardes with the thought of the Marquis de Sade. It explores how the returns to and of Sade that punctuated the French intellectual scene over the twentieth century could serve as a prism through which to politicize, represent and challenge the manifestations of extreme state and para-state violence in a colonial setting.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"11 1","pages":"8-23"},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44732425","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Homegrown Heroes: Peasant Masculinity and Nation-Building in Modern Egyptian Art 本土英雄:现代埃及艺术中的农民男子气概与国家建设
IF 0.2 2区 艺术学
ARTMargins Pub Date : 2022-10-01 DOI: 10.1162/artm_a_00324
Lara Ayad
{"title":"Homegrown Heroes: Peasant Masculinity and Nation-Building in Modern Egyptian Art","authors":"Lara Ayad","doi":"10.1162/artm_a_00324","DOIUrl":"https://doi.org/10.1162/artm_a_00324","url":null,"abstract":"Abstract On January 18, 1938 the Fuad I Agricultural Museum in Cairo opened its palatial doors to the local public and featured four untitled portraits (1934–1937) of peasant men sporting distinctive costumes and handicrafts. The artist behind these prominent paintings was an Egyptian named Aly Kamel al-Deeb (1909–1997), whose early career combined commissions at official museums and participation in anti-establishment artist groups in Egypt. What could explain al-Deeb's transition from creating art in opposition to national museums, to painting for such institutions? This essay analyzes al-Deeb's four paintings, which I call Homegrown Heroes, and argues that they began shifting the urban Egyptian public's perceptions of the male peasant subject and his role in achieving national sovereignty. Many scholars put nationalist and avant-garde narratives of Egyptian identity in opposition. This essay reveals the patriarchal frameworks underlying representations of folk art and authenticity among nationalists and the avant-garde alike in their meditations on the peasant figure. Contextualizing Homegrown Heroes in the surrounding art and science displays, popular culture, and sociopolitical shifts of the interwar period shows that male peasant figures in Egyptian art transformed from passive symbols of cultural backwardness to heroic citizens who use folk-art practices to liberate Egypt from Western imperialism.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"11 1","pages":"24-68"},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46101311","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Silence That Words Hold 沉默的语言
IF 0.2 2区 艺术学
ARTMargins Pub Date : 2022-10-01 DOI: 10.1162/artm_a_00331
Lula Wanderley
{"title":"The Silence That Words Hold","authors":"Lula Wanderley","doi":"10.1162/artm_a_00331","DOIUrl":"https://doi.org/10.1162/artm_a_00331","url":null,"abstract":"Abstract The introductory text situates the therapeutic practices of Gina Ferreira and Lula Wanderley in relation to the work of Brazilian modernist artist Lygia Clark. Ferreira is a social psychologist who uses the arts—for instance, photography and film—for the socialization and treatment of psychiatric patients. Wanderley is an artist who brings creativity into the realm of psychiatric care. Both have significantly expanded the sites and amplified the applications of Clark's Estruturação do self (Structuration of the self) therapy sessions by working in public psychiatric hospitals and clinics in Rio de Janeiro and with marginalized populations. In “Lend Me Your Eyes,” Gina Ferreira offers a poetic account of both Lygia Clark's practice and how communication became a “‘therapeutic’ possibility” for the artist. These thoughts frame Ferreira's narration of her clinical care of a client (patient) named Pedro. In “The Silence That Words Hold,” Lula Wanderley describes his artistic engagement with psychiatry and his use of Clark's therapy with clients such as Rosa. The two articles compelling attest to how Clark's Estruturação do self resonates beyond the institutionalized spaces of the art museum and the academy.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"11 1","pages":"139-143"},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47043829","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Persistence of Primitivism and the Debt Collectors 原始主义的坚持与讨债人
IF 0.2 2区 艺术学
ARTMargins Pub Date : 2022-10-01 DOI: 10.1162/artm_r_00327
E. Harney
{"title":"The Persistence of Primitivism and the Debt Collectors","authors":"E. Harney","doi":"10.1162/artm_r_00327","DOIUrl":"https://doi.org/10.1162/artm_r_00327","url":null,"abstract":"Abstract As the discipline of Art History increasingly aims to decolonize the gaze, questions have become paramount around cross-cultural influence and indebtedness, the traffic and translation of forms and ideas in the colonial modern era, and the mechanisms of postcolonial retrospection. Harney addresses these questions and the resonances of aesthetic primitivism in scholarship on African and diasporic modernisms and global contemporary artistic practices through a critical review of their weight within three recent volumes: Suzanne Preston Blier's Picasso's Demoiselles: The Untold Origins of a Modern Masterpiece (Duke UP, 2019), Joshua I. Cohen's The Black Renaissance: African Sculpture and Modernism Across Continents (UC Berkeley, 2020) and David Joselit's Heritage and Debt: Art in Globalization (MIT, 2020).","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"11 1","pages":"105-125"},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49018123","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Out of the Outback, into the Art World: Dotting in Australian Aboriginal Art and the Navigation of Globalization 走出内陆,走进艺术世界:澳大利亚原住民艺术的点缀与全球化的导航
IF 0.2 2区 艺术学
ARTMargins Pub Date : 2022-10-01 DOI: 10.1162/artm_a_00326
Matthew J. Mason
{"title":"Out of the Outback, into the Art World: Dotting in Australian Aboriginal Art and the Navigation of Globalization","authors":"Matthew J. Mason","doi":"10.1162/artm_a_00326","DOIUrl":"https://doi.org/10.1162/artm_a_00326","url":null,"abstract":"Abstract In recent decades, the popularity of Australian Aboriginal dot painting overseas has exploded, with works by some of Australia's leading artists selling for millions of dollars at auction, as well as featuring in major international exhibitions like the Venice Biennale and documenta. While this carries with it the risk of Aboriginal art and culture becoming diluted or commodified, this essay explores the origins and use of the ‘dotting’ typical of much Australian Aboriginal art of the Western and Central Deserts of Australia, as well as Aboriginal dot painting's circulation internationally, to consider how Aboriginal art's entry into the global art world might also represent an act of Indigenous self-determination. By leveraging the Western fascination with the ‘secret/sacred’ content often assumed to be hidden by these dots, Aboriginal artists have been able to generate an international market for their works. While Aboriginal communities remain among the most economically disadvantaged in Australia, Aboriginal art nevertheless provides a critical means by which Indigenous communities can support themselves, and, more importantly, operates as a form of cultural preservation and a tool by which Aboriginal peoples can assert their sovereignty.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"11 1","pages":"67-88"},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43020510","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Contributors 贡献者
IF 0.2 2区 艺术学
ARTMargins Pub Date : 2022-10-01 DOI: 10.1162/artm_x_00345
{"title":"Contributors","authors":"","doi":"10.1162/artm_x_00345","DOIUrl":"https://doi.org/10.1162/artm_x_00345","url":null,"abstract":"<span><strong>Lara Ayad</strong> is an independent researcher and art historian. She is the author of “The ‘Negress’ of Alexandria: African Womanhood in Modern Egyptian Art” (<span style=\"font-style:italic;\">African Arts</span>, Winter 2020). She currently hosts the television show <span style=\"font-style:italic;\">AHA!</span> A <span style=\"font-style:italic;\">House for Arts</span> on WMHT public media.</span>","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"36 6","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138506113","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
More Phemes 更多Phemes
IF 0.2 2区 艺术学
ARTMargins Pub Date : 2022-10-01 DOI: 10.1162/artm_a_00328
{"title":"More Phemes","authors":"","doi":"10.1162/artm_a_00328","DOIUrl":"https://doi.org/10.1162/artm_a_00328","url":null,"abstract":"Abstract A reading of Hurufism, a Sufi movement based on the science and mysticism of letters, the authors consider a range of affective, performative becomings in this unlikely Persian and Anatolian movement. Hurufism sees multiples of 14 and 28 (from the Perso-Arabic alphabet) in the corresponding hairs of the human face. Accordingly, Slavs and Tatars consider the implications for gender variation and fluidity in these otherwise overburdened graphemes.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"11 1","pages":"89-104"},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44329649","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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