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Art and Scholarship in Moments of Historical Danger 历史危机时刻的艺术与学术
IF 0.2 2区 艺术学
ARTMargins Pub Date : 2021-10-01 DOI: 10.1162/artm_a_00304
Vardan Azatyan, F. Schwartz, T. Clark, Sami R. Khatib, M. Šuvaković, Ursula Frohne
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引用次数: 0
Art under Neoliberalism 新自由主义下的艺术
IF 0.2 2区 艺术学
ARTMargins Pub Date : 2021-10-01 DOI: 10.1162/artm_a_00303
A. Appadurai, Johanna K. Bockman, Nathalie Heinich, M. Konings, Leigh Claire La Berge, G. Lovink, I. S. Prado, W. Thayer
{"title":"Art under Neoliberalism","authors":"A. Appadurai, Johanna K. Bockman, Nathalie Heinich, M. Konings, Leigh Claire La Berge, G. Lovink, I. S. Prado, W. Thayer","doi":"10.1162/artm_a_00303","DOIUrl":"https://doi.org/10.1162/artm_a_00303","url":null,"abstract":"Abstract Apart from the longstanding and much-debated problem of art's commodification, how does neoliberalism transform and determine the conditions of artistic practice? Further, if neoliberalism is a substantially distinct stage in the history of capitalism, and not merely its intensification, what are the implications of this new condition for the practice and criticism of contemporary art? What does it mean to practice and theorize art, to be an artist or critic, under neoliberalism? Drawing on the central topic of this issue, is aesthetic, artistic, or political radicality in art still possible under the neoliberal condition? Can, or should, artistic practice constitute a significant site of resistance? Conversely, is the contemporary art world a paradigmatic case of, and even a model for, neoliberal capitalism?","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"10 1","pages":"126-158"},"PeriodicalIF":0.2,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46860858","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
Art and Class Struggle 艺术与阶级斗争
IF 0.2 2区 艺术学
ARTMargins Pub Date : 2021-10-01 DOI: 10.1162/artm_a_00302
Jacques Lezra, J. Durán, Nico Baumbach, Steven Marsh, A. Toscano, M. Vishmidt, Genevieve Yue
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引用次数: 1
Taxonomy of Breathing 呼吸的分类
IF 0.2 2区 艺术学
ARTMargins Pub Date : 2021-10-01 DOI: 10.1162/artm_a_00306
tAXONOMY OF BrEAtHING
{"title":"Taxonomy of Breathing","authors":"tAXONOMY OF BrEAtHING","doi":"10.1162/artm_a_00306","DOIUrl":"https://doi.org/10.1162/artm_a_00306","url":null,"abstract":"Abstract Taxonomy of Breathing is a socially conscious, multidisciplinary art project that investigates our current societal moment through the lens of breath—its vulnerability to restriction, and its power of transformation. The fragility of the body—with breath as its essential element—is a manifestation of our environment, our historical moment, and our political and social context. It is at once foundational and aspirational, embodied, and symbolic.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"10 1","pages":"202-206"},"PeriodicalIF":0.2,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47914599","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
“I Lived without Seeing These Art Works”: (Albanian) Socialist Realism and/against Contemporary Art “我活着却看不到这些艺术作品”:(阿尔巴尼亚)社会主义现实主义与/反对当代艺术
IF 0.2 2区 艺术学
ARTMargins Pub Date : 2021-06-01 DOI: 10.1162/artm_a_00291
Raino Isto
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引用次数: 0
Contributors 贡献者
IF 0.2 2区 艺术学
ARTMargins Pub Date : 2021-06-01 DOI: 10.1162/artm_x_00298
{"title":"Contributors","authors":"","doi":"10.1162/artm_x_00298","DOIUrl":"https://doi.org/10.1162/artm_x_00298","url":null,"abstract":"","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"10 1","pages":"137-137"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42399001","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: 1
Amy Sara Carroll's ReMex: Toward an Art History of the NAFTA Era 艾米·萨拉·卡罗尔的《ReMex:走向北美自由贸易协定时代的艺术史》
IF 0.2 2区 艺术学
ARTMargins Pub Date : 2021-06-01 DOI: 10.1162/artm_r_00295
Irmgard Emmelhainz
{"title":"Amy Sara Carroll's ReMex: Toward an Art History of the NAFTA Era","authors":"Irmgard Emmelhainz","doi":"10.1162/artm_r_00295","DOIUrl":"https://doi.org/10.1162/artm_r_00295","url":null,"abstract":"Abstract Amy Sara Carroll's ReMex: Toward an Art History of the NAFTA Era interprets Mexico City-based, feminist, and border, or Chicano, art in and around the 1990s. Its premise is that aesthetics and politics “form a loop” in order to express what the author calls “Greater Mexico.” With this term, Carroll proposes that “Mexico” is no longer a territory but rather an imaginary that transcends its geographic borders. In her view, the denationalization brought about by the liberalization of markets led to a multicultural utopia best expressed in border art and art concerned with race and gender issues. In her account, aesthetic practice must serve as a direct weapon against “NAFTAfication” and colonial heteropatriarchy. Carroll draws an analogy between the selling out of the nation through the NAFTA treaty and the selling out of “post-Mexican” art to the global culture industry through the ambition of curators, cultural managers and artists who placed Mexico and Mexican contemporary art as key global art destinations by taking advantage of generous State sponsorship brought about by market liberalization. Any hint of cosmopolitism is suspicious and thus Carroll insists on “ReMexing” Mexico.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"10 1","pages":"105-117"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43964748","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
Introduction to Jalal AL-E Ahmad's “To Mohassess, For the Wall” 贾拉勒·艾哈迈德的《致穆罕默德,为了长城》简介
IF 0.2 2区 艺术学
ARTMargins Pub Date : 2021-06-01 DOI: 10.1162/artm_a_00296
M. Mirzaei
{"title":"Introduction to Jalal AL-E Ahmad's “To Mohassess, For the Wall”","authors":"M. Mirzaei","doi":"10.1162/artm_a_00296","DOIUrl":"https://doi.org/10.1162/artm_a_00296","url":null,"abstract":"Abstract “To Mohassess, For the Wall” is an article written in 1964 by Jalal Al-e Ahmad, one of the most influential and charismatic Iranian intellectuals of the time. Three years before writing this article, Al-e Ahmad had published Weststruckness, discussing the Iranians’ cultural alienation caused by the dependence on the west. In “To Mohassess, For the Wall”, Al-e Ahmad shifts his analysis to Iranian painting, arguing that Iranian painters during the 1960s merely repeat Western cultural processes and strategies instead of constructing Iranian ones. The context for Al-e Ahmad's argument is the Pahlavi regime's radical program of rapid modernization, which in the area of the arts was systematically expanded. Critical, provocative or problematic, the article offers a crucial window into the adoption of Western-style modernism by Iranian painters during the 1960s and into how an “insider” intellectual such as Al-e Ahmad evaluated the modernization of Iranian art before the background of what he perceived as the critical neglect of Iranian traditions. The text is addressed to Bahman Mohassess, a painter whom Al-e Ahmad considered to be one of the few who had not been coopted by the cultural policies of the Shah's regime.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"10 1","pages":"118-126"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49289354","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
Navigating Internationalism from Buenos Aires: The Centro de Arte y Comunicación 从布宜诺斯艾利斯导航国际主义:艺术与交流中心
IF 0.2 2区 艺术学
ARTMargins Pub Date : 2021-06-01 DOI: 10.1162/artm_a_00292
C. Spencer
{"title":"Navigating Internationalism from Buenos Aires: The Centro de Arte y Comunicación","authors":"C. Spencer","doi":"10.1162/artm_a_00292","DOIUrl":"https://doi.org/10.1162/artm_a_00292","url":null,"abstract":"Abstract This article maps the complex socio-political terrain negotiated by the Centro de Arte y Comunicación (CAYC) during the early 1970s from Buenos Aires. It shows how the CAYC attempted to continue the internationalising aims which the Instituto Torcuato Di Tella had pursued in the 1960s, while also providing a space for the exhibition and development of Conceptualism that engaged with political conditions in Argentina and in other countries including Brazil, Uruguay, Chile and Columbia, developing the framework of “systems art” in order to do so. The compromises necessitated by CAYC's balancing act opened the organisation, and in particular its director Jorge Glusberg, to accusations of cultural imperialism and complicity: from almost the very beginning, the CAYC project was characterised by dissensus and disagreement. The controversy generated by CAYC – documented in archives, publications and exhibition catalogues – now offers a rich historiographical resource for Latin American art, revealing how competing models of internationalism and Conceptualism were closely intertwined rather than diametrically opposed.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"10 1","pages":"50-72"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45559204","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: 1
To Mohassess, For the Wall 去莫哈格斯塔,去长城
IF 0.2 2区 艺术学
ARTMargins Pub Date : 2021-06-01 DOI: 10.1162/artm_a_00297
Jalal Al-e Ahmad
{"title":"To Mohassess, For the Wall","authors":"Jalal Al-e Ahmad","doi":"10.1162/artm_a_00297","DOIUrl":"https://doi.org/10.1162/artm_a_00297","url":null,"abstract":"Abstract “To Mohassess, For the Wall” is an article written in 1964 by Jalal Al-e Ahmad, one of the most influential and charismatic Iranian intellectuals of the time. Three years before writing this article, Al-e Ahmad had published Weststruckness, discussing the Iranians’ cultural alienation caused by the dependence on the west. In “To Mohassess, For the Wall”, Al-e Ahmad shifts his analysis to Iranian painting, arguing that Iranian painters during the 1960s merely repeat Western cultural processes and strategies instead of constructing Iranian ones. The context for Al-e Ahmad's argument is the Pahlavi regime's radical program of rapid modernization, which in the area of the arts was systematically expanded. Critical, provocative or problematic, the article offers a crucial window into the adoption of Western-style modernism by Iranian painters during the 1960s and into how an “insider” intellectual such as Al-e Ahmad evaluated the modernization of Iranian art before the background of what he perceived as the critical neglect of Iranian traditions. The text is addressed to Bahman Mohassess, a painter whom Al-e Ahmad considered to be one of the few who had not been coopted by the cultural policies of the Shah's regime.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"10 1","pages":"127-136"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44278535","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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