ART JOURNAL最新文献

{"title":"Title Page","authors":"","doi":"10.1080/00043249.2023.2194783","DOIUrl":"https://doi.org/10.1080/00043249.2023.2194783","url":null,"abstract":"Published in Art Journal (Vol. 82, No. 1, 2023)","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":"234 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-04-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138536418","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Returning to The Scene of the Crime: Gendered and Racialized Violence in Ana Mendieta’s Rape Scene","authors":"Bryony White","doi":"10.1080/00043249.2023.2239117","DOIUrl":"https://doi.org/10.1080/00043249.2023.2239117","url":null,"abstract":"Abstract Ana Mendieta’s Rape Scene (1973) offers a visceral exploration of sexual, gendered, and racialized violence. Mendieta’s re-enactment of the rape of Sarah Ann Ottens, creates a purposefully traumatic, “triggering” scene for her audience to discover. In “returning to the scene of the crime,” Mendieta produces a critical methodology that facilitates a more complex interaction with the traumatic aftermath of gendered and racialized violence, one that refuses and questions the paltry validation and legitimization of gendered and racialized violence by the law and legal systems. In this article, I argue that Mendieta’s reenactment produces a legal excess, intervening in the juridical distribution of the norm, where the performance disavows the normative, regulative impulses associated with ‘law and order’ by allowing other, alternative traumatic affects into the room, ones which escape how crime scenes, and the law more broadly, try to regulate the emotional and affective aftermath of gendered and racialized violence. Through the performance’s triggering affective surplus, Mendieta draws us towards the site of her own racialized flesh, which, I argue, stages a conversation about the law as a system that both produces and naturalizes the violence that inheres in the gendering and racialization of the body.","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":"82 1","pages":"68 - 81"},"PeriodicalIF":0.5,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48800918","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ruptured Envelopes, Double Shells: Skins in Art in the Age of Global Mobility","authors":"Hava Aldouby","doi":"10.1080/00043249.2023.2239115","DOIUrl":"https://doi.org/10.1080/00043249.2023.2239115","url":null,"abstract":"Abstract “Ruptured Envelopes, Double Shells” explores the presence and meaning of skin in art of the early twenty-first-century. Millennial art has engaged skin through an intriguing selection of media, from animal hides to latex and silicon. The installations discussed in this paper experiment with biological and artificial skins, transformed into fetishized shells and brought to bear on contemporary sociocultural anxieties. The paper draws on Didier Anzieu’s Skin-Ego theory as a useful analytical framework, allowing discussion of both psychological and sociocultural aspects of skin. Works by Ana Álvarez-Errecalde, Nandipha Mntambo, Jessica Harrison, Wu Tien-chang, Michel Platnic, Pamela Rosenkranz, and Penny Siopis are discussed under the categories of “double shells,” “skin fetishes,” and “de-structured skins.” Analysis proceeds along two critical paths. Thus, a historically-specific political perspective is coupled with a phenomenological reflection on skin’s appeal to the haptic sensibility of our bodily borders. Investigating the turbulence of global mobility through the trope of skin, the paper reflects on subjects’ sense of “skinlessness” in an age when Otherness is ubiquitous, whether it is political, geographic, ethnic, or racially specific. At the same time, the growing phenomenological discourse on embodied aesthetics invites reflection upon sensory aspects of skin-based art, in relation to the lived experience of bodily envelopes. Assuming a synergy between these complementary critical paths, the paper offers close analysis of seven artists’ skin-related installations and videos, with particular attention to how skin comes to matter in an age of global turbulence.","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":"82 1","pages":"38 - 56"},"PeriodicalIF":0.5,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47582764","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Beyond a Politics of Location: On Asian/American Art Workers and Art","authors":"christina ong","doi":"10.1080/00043249.2023.2239120","DOIUrl":"https://doi.org/10.1080/00043249.2023.2239120","url":null,"abstract":"What makes art “Asian”? What makes art “American”? How can ethnic, racial, and national categories be utilized in the arts without becoming essentializing? Two collections, Best! Letters from Asian Americans in the Arts, edited by Christopher K. Ho and Daisy Nam, and American Art in Asia: Artistic Praxis and Theoretical Divergence, edited by Michelle Lim and Kyunghee Pyun, confront these questions head on. Beyond a cursory overview of the ways in which one’s racial or ethnic identity and national allegiances impact art workers, these collections complicate existing labels that place art and its creators strictly within the boundaries of existing frameworks within fields spanning art history, ethnic studies, and area studies. To begin, both collections’ editors write on the centrality of the novel coronavirus pandemic, which hastened their projects into reality. The seeds of Ho and Nam’s Best! were planted in early 2020. With an open premise, they put forward a call for letters from Asian American cultural workers to “explore their Asian American identity in relationship to their practice, their upbringing, their place in the world, and their aspirations for the future” resulting in seventy-three letters of varied nature from artists, curators, professors, and others in the field (2). With this large number of contributions, the collection brings varied perspectives to the fore. And, with open-ended prompting questions provided to the writers, the content may be overwhelming at first glance. Still though each letter ranges in form and length, there are familiar kernels embedded in each: themes of diasporic identity, belonging, and intergenerational legacies which tie seemingly disparate contributions together. Published by Paper Monument, a nonprofit art press based in Brooklyn, Best! finds a home alongside texts which encourage critical thought from and for artists. Choosing to intimately tackle questions of","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":"82 1","pages":"82 - 84"},"PeriodicalIF":0.5,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49099872","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Archives in Endemic Time","authors":"Theo Gordon","doi":"10.1080/00043249.2023.2239122","DOIUrl":"https://doi.org/10.1080/00043249.2023.2239122","url":null,"abstract":"The various archives of the art and activism produced in New York City in response to HIV/AIDS are remarkably extensive and robust. This claim does not negate some of the foundational and structural biases in these archives, nor the ongoing daily struggle to maintain and keep archives open in the neoliberal economy, especially for those grassroots and community ventures forced continually to renew their bids for scant funding and resources. Students of the ongoing historical cataclysm of HIV are often quick to suspect that mass death and the resultant temporal distortions produced by pervasive racism, homophobia, and economic inequality—lives and artistic careers dramatically curtailed, possessions and works junked by uninterested relatives—necessarily imply a precarious and partial record of the extraordinary cultural response to the epidemic. My point is not to deny the many thousands of artists whose work has been lost as a result of such destruction, but to emphasize the historical fact that since the height of the epidemic in the United States, many activists and artists have been acutely aware of their materials’ precarity, and as such have made particular, inevitably partial, yet impressive efforts at preservation. In New York, the activist group the AIDS Coalition to Unleash Power (ACT UP), active since March 1987, had cabinets dedicated to archiving in their early 1990s workspace on West 29th Street, in which xeroxed copies of posters and pamphlets would be filed; the collection was partially accessioned to the New York Public Library (NYPL) in 1995. In 1994, Frank Moore (1953–2002) and David Hirsh (dates unknown) launched the archive committee, an artist-led endeavor to create a slide repository of works by those who had died of or had HIV/AIDS; the committee soon merged with the already established organization Visual AIDS to become the Archive Project. Also in 1994, New York University (NYU) established the Downtown Collection at Fales Library, whose acquisition policy for records of Lower Manhattan’s artistic cultures was directly informed by the ongoing losses of the epidemic. The assumption of a general archival devastation wrought by the social and political crisis of AIDS must, then, be tempered by recognition of the painstaking work of such projects, the materials of which shape the stories we are able to tell of HIV/AIDS today. Marika Cifor’s Viral Cultures: Activist Archiving in the Age of AIDS is the first extended study of the archival configurations of HIV/AIDS in New York, charting the history of their formation, how ideologies—“temporal, political, technological, cultural, and biomedical”—have shaped them, and the ways that people —“activists, artists, curators, and archivists”—continue to engage them (4). Focusing chiefly on these three collections, Cifor firmly establishes the history of “activist archiving,” which began during what Jules Gill-Petersen calls the “epidemic time” of HIV, the period ca.1981–96 when the dea","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":"82 1","pages":"87 - 89"},"PeriodicalIF":0.5,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48088347","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"One Hundred Years of Revolutionary Experiments in Art Education","authors":"Eva Díaz","doi":"10.1080/00043249.2023.2239116","DOIUrl":"https://doi.org/10.1080/00043249.2023.2239116","url":null,"abstract":"Abstract “One Hundred Years of Revolutionary Experiments in Visual Art Education” defines and clarifies four often-invoked yet elusive concepts in visual art and visual art pedagogy: “experimental,” “progressive,” “critical,” and “radical.” Using the Marxist-theory based Whitney Independent Study Program in New York as a case study, an institution now transitioning from over a half-century under the continuous leadership of director Ron Clark, it helps write the history of the past one hundred years of revolutionary art training. In particular, this essay argues that the critical theory in contemporary art education taught at organizations like the Whitney Program, though built on a foundation initiated by experimental art schools such as the Bauhaus, Black Mountain College, and Vkhutemas, has dramatically reinvented the terms in which progressive politics are understood in visual art. To truly understand the Whitney Program’s unique form of revolutionary experimentation requires contending with the radical element of its pedagogy as laid out in the definition this essay provides of radical pedagogy, that is, the ISP’s emphasis on social change. This emphasis comes to the ISP in large part from the Frankfurt School, which, beginning in the 1920s, embarked on a critique of the culture and social forms of modernity, exploring the anomie and alienation at the heart of capitalist class inequality. The ISP is radical in the literal meaning stemming from the Latin radix (root), as it questions the basis of art at an ideological level: what roles it serves, and how it can align with other forces in society advocating for social justice, racial, gender and class equality, and economic redistribution.","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":"82 1","pages":"57 - 67"},"PeriodicalIF":0.5,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43728179","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Taking, Breaking, and Re-Making","authors":"Tara Kuruvilla","doi":"10.1080/00043249.2023.2239121","DOIUrl":"https://doi.org/10.1080/00043249.2023.2239121","url":null,"abstract":"tions of the Vietnam War in her artistic practice and family history in her chapter, “American War in Viê.t Nam: We Are Besides Ourselves.” Beginning with her fascination with magazine covers from the 1960s and 1970s, Tru’o’ng illustrates how repeatedly seeing photographs of Vietnamese people during the war on in these magazines “sedimented a notion of Vietnamese people” within binary constructs of enemy/victim, to be killed/to be saved (152). The haunting echoes of antiAsian racism and subjugation under white supremacy and Western militarism pervade Tru’o’ng’s artistic practice. In her early work, she destabilizes the Western gaze, combining archival photographs of these early magazines with personal photos from her family. By taking influence from decolonial and postcolonial practices, Tru’o’ng’s later work grapples with her positionality in relation to those in her photos or in the texts she clips as part of her artwork. Influenced by Trinh T. Minh-ha, she writes of her notion of “speaking nearby” to avoid co-optation and power imbalance by art workers and scholars (157). Ultimately, Tru’o’ng’s reflexivity in her own art practice aims to rectify the historical erasure of Asians living in and influenced by America. The concluding section, “Connecting Asia and the Americas in the Global South,” centers the experiences of cultural workers in the Global South. Zhanara Nauruzbayeva, a native of Kazakhstan, chronicles the creation of a participatory art project and popup café in the region in her chapter, “The Artopologists: Rethinking Food Justice in Central Asia.” Working alongside two colleagues from the United States, Nauruzbayeva spent six weeks in Kazakhstan to create “an interactive cooking and eating space as a vehicle for exploring and reflecting on Central Asian foodways” (222). Her chapter outlines the plans and setbacks that her team went through in the process of creating the Borrowed Kazan pop-up café, echoing the reflexive nature of James Jack’s essay on cooperative artmaking in Japan. For artists interested in creating similar kinds of interactive, community-based art, Nauruzbayeva lays out key points to consider. Though life in many ways has attempted to move beyond the immeasurable loss and upheaval caused by COVID-19, its existence alongside anti-Asian sociopolitical responses by global leaders across the West urged Ho and Nam, and Lim and Pyun, to think of “new hope and directions in thinking about how to respond to ethical dilemmas and inequalities, in terms of art-making and reaching new audiences” (Lim and Pyun, 235). Though both Best! and American Art in Asia have similar aims, the collections utilize different approaches and target different audiences. Despite this, taking both into account urges readers to think broadly about the limits we place on artists and what can be done to recalibrate our own understanding of geopolitical and racial divisions that impact artistic cultural production. For those outside of Asian Americ","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":"82 1","pages":"84 - 87"},"PeriodicalIF":0.5,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44856867","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Funding Information","authors":"Meme Omogbai","doi":"10.1080/00043249.2023.2240219","DOIUrl":"https://doi.org/10.1080/00043249.2023.2240219","url":null,"abstract":"I am honored and delighted to be taking up the directorship of the Program in Medieval Studies in the new year. I want to thank Anne D. Hedeman for her dynamism and collegiality as director during the last three years. The programs of events for each year now archived on our website (www.medieval.uiuc.edu) reflect the richly varied interests of our members and a stream of distinguished visitors from around the world. Anne D. was key to the establishment of the program. It was she who drew together a bunch of us to compete for one of the seven exchanges that Illinois approved with France’s Centre National de la Recherche Scientifique in 1998. (The Program in Medieval Studies was the only humanities group to be funded. Our exchange was so successful that it was renewed for two years beyond the initial three.) This collaboration inspired us to work together to apply for official recognition as a Program with a graduate certificate. Then Stephen Jaeger came to be our first director in 2001, and in his wake new colleagues joined us in Classics, History, English, and Architecture. Anne D. has sustained the momentum generated six years ago. I owe a great debt to Charlie Wright for generously agreeing to act as director during the fall semester. He has accomplished an amazing amount for the program, organizing a high profile international conference for next fall on “Translating the Middle Ages,” drafting bylaws, initiating a proposal for an undergraduate minor in medieval studies—all of this besides teaching two courses and editing JEGP! Going forward, we hope to develop our undergraduate course offerings, build links with other programs on campus, strengthen exchange programs, and further increase our visibility on the national and international scenes. I look forward to continuing the work that Anne D. and Charlie have done.","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":"82 1","pages":"4 - 4"},"PeriodicalIF":0.5,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43043696","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Director's Letter","authors":"Meme Omogbai","doi":"10.1080/00043249.2023.2240214","DOIUrl":"https://doi.org/10.1080/00043249.2023.2240214","url":null,"abstract":"","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135718054","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Plundered Loot","authors":"Eddie Chambers","doi":"10.1080/00043249.2023.2239112","DOIUrl":"https://doi.org/10.1080/00043249.2023.2239112","url":null,"abstract":"","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":" ","pages":"5 - 7"},"PeriodicalIF":0.5,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45948465","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}