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Reflections of a Baniwa artist Baniwa艺术家的倒影

World Art Pub Date : 2023-04-02 DOI: 10.1080/21500894.2023.2170457

Denilson Baniwa, Renato Rodrigues da Silva, T. Bogéa

引用次数: 1

Deforestation of the Brazilian Amazon: a photographic essay 巴西亚马逊的森林砍伐:一篇摄影随笔

World Art Pub Date : 2023-03-27 DOI: 10.1080/21500894.2023.2185671

Victor Moriyama

引用次数: 0

‘Genocide is climate change’: a conversation about colonized California and Indigenous futurism “种族灭绝是气候变化”:关于被殖民的加利福尼亚和土著未来主义的对话

World Art Pub Date : 2023-03-09 DOI: 10.1080/21500894.2023.2183520

Christine Howard Sandoval, Jessica L. Horton

引用次数: 0

The work of art in the age of extractivism 榨取主义时代的艺术作品

World Art Pub Date : 2023-03-07 DOI: 10.1080/21500894.2023.2183521

A. Dawson

引用次数: 0

Care and attunement in artistic collaboration: two cases in Hong Kong 艺术合作中的关怀与协调:香港的两个案例

World Art Pub Date : 2023-02-21 DOI: 10.1080/21500894.2023.2175370

Yan-ning Yeung

引用次数: 0

Passage to the Orient (1993): Re-assessing the Role of the ‘Orient’ as ‘Avant-garde’ during the Rise of Globalisation 《东方之旅》(1993):重新评估全球化兴起期间“东方”作为“前卫”的角色

World Art Pub Date : 2023-01-02 DOI: 10.1080/21500894.2022.2150888

C. Ricci

{"title":"Passage to the Orient (1993): Re-assessing the Role of the ‘Orient’ as ‘Avant-garde’ during the Rise of Globalisation","authors":"C. Ricci","doi":"10.1080/21500894.2022.2150888","DOIUrl":"https://doi.org/10.1080/21500894.2022.2150888","url":null,"abstract":"Of the several exhibitions that composed the 1993 Venice Biennale, Passage to the Orient has received the most commentary. Its fame is doubtless linked to its display of works by fourteen Chinese painters, exhibited for the first time in Venice. However, the exhibition was not devoted solely to Chinese art. It was rather intended as the manifesto for a new, international approach by the Biennale, significantly announcing its commitment to East–West dialogue, with East intended as both geographical and symbolic. From the curator’s perspective, the concept of the Orient evoked the unknown and the new; in Said’s terms it was ‘Orientalist’. Moreover, the symbolic figure of Marco Polo, who inspired the exhibition’s title, recalled the idea of ‘trespassing’, of moving beyond personal, geographic, political, and historical boundaries. Through an investigation around the use of the concept of ‘Marco Polo Syndrome’, the layered meaning of the term avant-garde in Bonito Oliva’s jargon and his broader scope in rejuvenating the Biennale’s international vocation, this essay aims to redefine how the term Orient was used during the rise of globalisation at the beginning of the 1990s. Finally, such analysis proves helpful in framing continuity between the concepts of historical avant-garde and contemporaneity during the transitional period of the 1990s.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115280478","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

Developing Orientalism: Negative/Positive Ecologies ‘in the Field’ of the British Empire, c.1850–1888 发展中的东方主义:1850 - 1888年间，大英帝国“领域”中的消极/积极生态

World Art Pub Date : 2023-01-02 DOI: 10.1080/21500894.2022.2160007

S. Willcock

{"title":"Developing Orientalism: Negative/Positive Ecologies ‘in the Field’ of the British Empire, c.1850–1888","authors":"S. Willcock","doi":"10.1080/21500894.2022.2160007","DOIUrl":"https://doi.org/10.1080/21500894.2022.2160007","url":null,"abstract":"Histories of Orientalist photography focus predominately on the form and content of positive prints. This article argues that more attention should be paid to the distinctive visual qualities and associated meanings of photographic negatives within the colonial visual encounter. Paper and glass-plate negatives were the objects of frequent spectatorship and discussion for travelling British photographers working ‘in the field’ in the early years of the medium. While scholarship on such photography has traditionally emphasized the camera’s capacity to ‘fix’ the racialized Other as a static image available for the imperial gaze, the actual practice of making photographs ‘in the field’ was defined by fluid chemical processes and the fragile materiality of sensitized plates. I argue that such procedures yielded negative images that were defined not so much by fixity as mutability. The distinctive blemishes and marks that appeared on such negatives were read by photographers as indexes of volatile chemical and climatic agencies that decentered photographic authorship. Attending to photographers’ writings on such visual traits thus reveals a counter-discourse to the standard language of stasis and instantaneity that has come to dominate accounts of photography.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"66 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126767842","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

Negotiating between East and West: The Case of Russian Orientalism 东西方谈判:以俄罗斯东方主义为例

World Art Pub Date : 2023-01-02 DOI: 10.1080/21500894.2022.2150887

Maria Taroutina

引用次数: 0

‘Eternal convivencia’: From Madrid’s Painters of Africa to the School of Tetouan “永恒的便利”:从马德里的非洲画家到得土安画派

World Art Pub Date : 2023-01-02 DOI: 10.1080/21500894.2022.2150886

C. Hopkins

{"title":"‘Eternal convivencia’: From Madrid’s Painters of Africa to the School of Tetouan","authors":"C. Hopkins","doi":"10.1080/21500894.2022.2150886","DOIUrl":"https://doi.org/10.1080/21500894.2022.2150886","url":null,"abstract":"The annual Pintores de África exhibitions, organised by Franco’s colonial administration in mid-twentieth-century Madrid, offered audiences a colourful feast of artistic representations of Spain’s colonial territories in Africa, and of Spain’s architectural legacy of al-Andalus. Foregrounding the ideological issues underpinning these exhibitions, this article evaluates the selection of artworks, the programme of events, exhibition catalogues, and reviews. Many writers discussed the artworks with reference to al-Andalus, echoing colonial propaganda. After Moroccan independence (1956), the exhibitions partly lost their purpose, but the memory of al-Andalus was repurposed by Moroccan cultural brokers for the fashioning of their post-colonial artistic identity. The last part of this article reveals the relations between the Painters of Africa exhibitions and the birth of the School of Tetouan. The article not only sheds light on the art, curation, and art writing that took place in the interstices between Spain and Morocco at the end of colonialism, but also illuminates the paradoxical processes underpinning the formation of artistic identity in post-independence northern Morocco. The case study is relevant to global perspectives in History of Art and refigures understandings of East–West relations with which we have become so familiar since Said’s Orientalism of 1978.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"19 2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130920798","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

Challenging Orientalism: New Perspectives on Perception and Reception, an Introduction 挑战东方主义:感知与接受的新视角，导论

World Art Pub Date : 2023-01-02 DOI: 10.1080/21500894.2022.2151505

Emily Christensen, Erica Payet

引用次数: 0