ART JOURNAL最新文献

{"title":"Container of Memory: Ideas, Methods, Images","authors":"Fu Bin","doi":"10.1080/00043249.2023.2239113","DOIUrl":"https://doi.org/10.1080/00043249.2023.2239113","url":null,"abstract":"We have entered a “post-printing” era. The dissemination of information and images has become more diversified and complex, and traditional printing is facing new challenges. How can we both preserve tradition and transcend its borders? Contemporary printmaking can be used as a kind of “synthetic” art to separate from the traditional printing process and image reproduction, which will change the inertial thinking that printmaking is only for printing. Reproduction is no longer the most important attribute of contemporary printmaking, instead diversified, mixed, and crossmedia art practices are the future. In my recent works, I have combined the engraving of the woodcut matrix with oil painting. The raised black lines and colors with rich strokes create a subtle space in the seemingly flat painting and bring a unique formal language and visual experience. My process references the procedural characteristics of printmaking and divides them into several independent steps. First, I do not emphasize the replicability of printing. The layout is engraved but not used for printing; and the wooden board (matrix) with rich knife-mark texture becomes the base of the picture. Second, I use the ink for printmaking instead of paint to draw the colors. Finally, I use a roller to ink the raised part of the picture and black to highlight the main structure of the picture, thus completing a unique composite material painting. This creative method relies on unique tools and painting language, mixing the indirect expression of printmaking with the direct articulation of painting. Using the language and modes of ontology I explore the potential of printmaking and regard different production techniques and visual forms in printmaking as the most valuable parts, which inspires me to highlight the unique artistic expression and aesthetic characteristics of printmaking. I depict figurative and flat urban landscapes. In my opinion, the city is not only a space for daily life but also a container for storing history, culture, and individual memory. In Western art history, landscapes were long used only as backgrounds until Caspar David Friedrich first transformed the landscape into a mental image and a metaphor for the psychological state of human existence. My Parallel Lines series of works focuses on the daily landscape around us but one in which there are no traces of people in the familiar sense. The absence of people is a metaphor for the mental state of many urbanites. In the face of China’s rapid urbanization and development, the transformation in the urban landscape results in a huge impact not only on the visual but also the psychological. The gap between dreams and reality makes people have a strong sense of strangeness and alienation from the city they live in. The Once Upon series of works are based on photographs I took while traveling in Hong Kong. Its crowded urban spaces have typical postmodern characteristics, but it wasn’t the typical high-rise buildings ","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":"82 1","pages":"8 - 23"},"PeriodicalIF":0.5,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42711368","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":"Touchstones: Lucy Lippard’s Overlay and the Politics of Prehistory","authors":"Morgan Falconer","doi":"10.1080/00043249.2023.2239114","DOIUrl":"https://doi.org/10.1080/00043249.2023.2239114","url":null,"abstract":"Abstract “Touchstones: Lucy Lippard’s Overlay and the Politics of Prehistory” examines the critical context around Lucy Lippard’s remarkable 1983 book about contemporary art and the art of prehistory. A unique piece of art history that shuttles between archaeology and contemporary practice, the book is one of the most important critical works to emerge from the cultural feminist movement of the 1970s. The essay explores its distinctive model of “collaged” history, competing approaches to time and history in contemporary land art, how these reoriented notions of Minimalism and technology, and why Lippard believed that prehistory could become a powerful cultural and political resource. The essay also investigates the preoccupation with prehistory, a pervasive accent in the art of the late 1960s and 1970s, and one which provides an important context that goes beyond the limits of cultural feminism. Finally, the essay examines the position Lippard adopted in relation to the gathering criticism of cultural feminism which came from voices on the poststructuralist left; it also explores Lippard’s understanding of pluralistic approaches to media at a time when Rosalind Krauss’ essay on “Expanded Sculpture” sought to bring order and logic to the period’s diversity.","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":"82 1","pages":"24 - 37"},"PeriodicalIF":0.5,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43507473","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":"Editorial Board and Information for Authors","authors":"","doi":"10.1080/00043249.2023.2240217","DOIUrl":"https://doi.org/10.1080/00043249.2023.2240217","url":null,"abstract":"","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":" ","pages":"2 - 2"},"PeriodicalIF":0.5,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43687149","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":"Archiving the Future","authors":"S. Crasnow","doi":"10.1080/00043249.2023.2180280","DOIUrl":"https://doi.org/10.1080/00043249.2023.2180280","url":null,"abstract":"Archives have been a prominent feature in the artistic practices of contemporary artists from the Middle East. Perhaps most notably among artists of the post-Civil War generation in Lebanon, such as Walid Raad, Akram Zaatari, Joana Hadjithomas and Khalil Joreige, and Rabih Mroué, among others, an investment in intervening in existing archives and creating reparative alternative new archives has been seen in works by artists from across the region. Gathering scholarly texts and artist interventions together, Anthony Downey’s 2015 volume Dissonant Archives: Contemporary Visual Culture and Contested Narratives in the Middle East (I. B. Tauris, 2015) brought together examples of these archival investments and interjections made by contemporary artists. As such, while a focus on the archive is not something new, Gil Hochberg, in Becoming Palestine: Toward an Archival Imagination of the Future approaches the works of Palestinian artists who are engaging with archives and archival practices from a new perspective. Hochberg reads these practices as utilizing the archive in a way that turns toward the future rather than fixating on the past, even in a reparative sense. In Becoming Palestine, Hochberg looks at a selection of artistic practices that engage with archives not for what they can tell us about the past but for what they may hold for potential futures. It is this notion of possibility or potentiality that is encapsulated in the “becoming” of the title. As Hochberg states of the title in the introduction to the book, “I use the term becoming to account for such open-ended futures . . . Becoming requires a certain ‘leaving behind’ of historical preconditions ‘in order to become, that is, to create something new.’ It requires speculating beyond the narrative comfort zone of history’s ‘actuality,’ which is held in place by preexisting recognizable political terms: state, empire, nation, or people. This is where art comes in” (8). Hochberg sees art as a medium unbound by the restrictions and requirements of what is and therefore able to venture into the exploration of the possible: what could have been and what could still be. Comprised of five chapters, each investigates how a dišerent artist utilizes the archive to explore possible futures. As Hochberg outlines in the introduction, the first two chapters deal with “the poetics of","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":"82 1","pages":"89 - 91"},"PeriodicalIF":0.5,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49461848","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":"Sitting with the Matter of Black Life","authors":"Diego A. Millan","doi":"10.1080/00043249.2023.2180281","DOIUrl":"https://doi.org/10.1080/00043249.2023.2180281","url":null,"abstract":"collective portrait Willis assembles can call attention to both visual patterns, without losing the reader’s access to the idiosyncrasies of any particular image or historical actor pictured within. The structure of Willis’s book invites synthetic observation—looking across and between texts and images—but at the same time, the inclusion of such a wealth of primary sources invites readers to bring their own interpretive skills to the work of observation. The uncannily fine grain produced by nineteenth-century wet-plate photographic processes makes soldiers portrayed in these pictures feel radically present to contemporary viewers, highlighting any particular soldier’s distinctive individuality in the direction of his gaze, the angle of his posture, or the placement of his hands. Both as documents of intimate experience and as symbolic representations, these photographs exhibit a representational tension, one that becomes evident as viewers engage with the collective portrait and the distinctive texts and images that comprise that portrait. Even when readers are instructed to see how lines connect across the primary sources included in the book, readers may find themselves in unexpected moments of intimate engagement with a particular object or document. The methodological interventions of this book, and in particular the way that Willis invites readers to engage with the historical record, invite the interpretation of this book as a pedagogical project. As she guides readers through the text, Willis invites us into a particular way of seeing, a practice of noticing when the subjects of photographs gesture beyond the edges of their frames. Both Willis’s and Clifton’s books are framed around failures of memory, not just the problem of remembering the names of enslaved people and their descendants, but a bigger loss of awareness—or in some cases refusal to recognize—the ways that Black Americans asserted their sel­ood in the face of significant resistance, thus propelling dramatic social transformations. In each of these texts, the response to such losses is the assembly of a narrative from words and texts, just kept, a process that reminds us that losses of memory can result from the absence of documentation, but also from a lack of narrative structure that helps the flood of historical documents make sense. As Clifton assembled her raw materials into prose, poetry kept creeping in, resulting in a memoir in which readers must be part of the process of assembly. Unlike a historical monograph, she does not o„er clear transitions or conclusions or a summary of argument, and instead readers are left to make the imaginative leaps for themselves. As she reminds us in the book’s first pages, these leaps have consequences and may reflect our own subject positions or backgrounds: “She is puzzled. I don’t remember that name, she says.” Who and how we remember is political work. Reading Willis alongside Clifton makes the poetry of The Black Civil War Soldier ","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":"82 1","pages":"93 - 96"},"PeriodicalIF":0.5,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45587519","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":"Editorial Board and Information for Authors","authors":"","doi":"10.1080/00043249.2023.2194784","DOIUrl":"https://doi.org/10.1080/00043249.2023.2194784","url":null,"abstract":"","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":"82 1","pages":"2 - 2"},"PeriodicalIF":0.5,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42190401","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":"Pantéon: When the Saints Go Marching! Envisioning an Afro-diasporic Cosmology","authors":"Vladimir Cybil Charlier","doi":"10.1080/00043249.2023.2180275","DOIUrl":"https://doi.org/10.1080/00043249.2023.2180275","url":null,"abstract":"1. Loa, also spelled lwa, are the primary spirits of Haitian Vodou. They are akin to the orishas of Yoruba religion of West Africa and its New World derivatives, and of Afro-Caribbean syncretic belief systems or religions. Unlike the orishas, which are supernatural entities, the loa are not deities but spirits, either of human or divine origin, created by Bondye (God) to assist the living in their daily a airs. 2. All My Ancestors: The Spiritual in Afro-Latinx Art, exh. cat. (Philadelphia: Brandywine Workshop and Archives, 2022), 47. Pantéon: When the Saints Go Marching! explores the practice of using images evocative of Afro-diasporic and global belief systems as an act of resistance and resilience for African peoples of the New World. The full series depicts twenty-two icons, which conflate archetypes of African, Afro-Caribbean, and other deities with present-day pan-African heroes and sheroes like Bob Marley, Jean-Michel Basquiat, and Harriet Tubman. I began the series during a residency at the Studio Museum in Harlem as I pondered what would happen if, years after their respective passing, the icons, as AfroCaribbean deities, landed in the modern-day city. I later revisited and expanded on the series, seeking to generate a conversation about how diasporic identities are constructed. As African American and Afro-diasporic heroes and sheroes are cast as icons, they become the archetypes of a New World. The video elements attached to each of the selected images reproduced here (by QR code) deconstruct each archetype and create universal connections, both visual and symbolic, drawing the viewer into a seductive, poetic world, a universal dance that goes beyond borders, geography, and language. It is the cosmic dance of creation, the dance of the atoms, a dance that pays homage to deities identified with the world’s belief systems, such as Shiva, one of the main deities of Hinduism, and Olodumare, the Yoruba supreme being, creator of the heaven and the earth. In the exhibition catalog accompanying All My Ancestors: The Spiritual in Afro-Latinx Art, Tatiana Reinoza, the show’s curator, referenced my practice and the Pantéon: When the Saints Go Marching! series in the following terms:","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":"82 1","pages":"8 - 15"},"PeriodicalIF":0.5,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47124788","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":"Resonant Presence: Materiality and Memory in the Work of Suchitra Mattai","authors":"Sarah Magnatta","doi":"10.1080/00043249.2023.2180276","DOIUrl":"https://doi.org/10.1080/00043249.2023.2180276","url":null,"abstract":"Memories can be fractured, incomplete, or unreliable, but materiality—especially for artist Suchitra Mattai—often embodies stability. As Joanna Sofaer notes, “Materiality conveys meaning. It provides the means by which social relations are visualized, for it is through materiality that we articulate meaning and thus it is the frame through which people communicate identities.” 1 Mattai’s use of specific materials denotes certain relationships, concepts, and questions, even while drawing from imprecise personal memories. She investigates her own family’s history—one that started decades prior as Indian indentured laborers in the British colony Guiana (now Guyana)—through these materials: personal tokens such as her mother’s and her aunt’s saris reference women of the South Asian diaspora, long decentered, but whose voices are here amplified; found needlepoint reclaims its status, eschewing the hierarchies imposed by colonial narratives dividing fine art from “women’s craft;” patterned paper and fabrics in the Tommy Bahama vein reference the ongoing exotification of the Caribbean by western consumerist culture; and sugar, the seemingly benign substance responsible for numerous acts of colonization, human enslavement, and the depletion of environmental resources, reminds the viewer of the ongoing ramifications of imperialism. This essay examines some of these materials—from “raw” to readymade objects and fabrics—as they intersect with memory in Mattai’s work, allowing us to, in Mattai’s words, “unravel and re-imagine historical narratives.”","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":"82 1","pages":"16 - 33"},"PeriodicalIF":0.5,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47514678","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":"Landscapes of Despair: Book Covers and the Visual Culture of the Opioid Crisis","authors":"Charles Keiffer","doi":"10.1080/00043249.2023.2180278","DOIUrl":"https://doi.org/10.1080/00043249.2023.2180278","url":null,"abstract":"Abstract Why does every book about the opioid epidemic have a landscape photograph on the cover? Landscape photography has had a persistent role in media coverage of America’s opioid epidemic since at least 2016. This paper explores the phenomenon through analyses of a selection of recent, popular press book covers whose texts address the crisis, asking what this marketing strategy reveals. What do these images tell us about how we approach the opioid crisis, and how that approach may differ from previous addiction epidemics in America? How does the perceived whiteness of this epidemic influence how we visualize it? My argument is that, for the educated, urban reader whom these books are marketed to, the images are intended to evoke our existing anxieties about those other crises – climate change and American economic decline – provoking empathy with the victims of the opioid crisis. This signal to empathy may point to not only a changing approach to addiction but a shift in American culture’s attitude towards the future.","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":"82 1","pages":"58 - 73"},"PeriodicalIF":0.5,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41459908","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":"“The Senses Pointing towards a New Transformation”: On Touch, Collectivity, and Lygia Clark’s The I and the You at the First International Tactile Sculpture Symposium, 1969","authors":"K. Carter","doi":"10.1080/00043249.2023.2180279","DOIUrl":"https://doi.org/10.1080/00043249.2023.2180279","url":null,"abstract":"Abstract In 1969 Lygia Clark and Hélio Oiticica travelled to Los Angeles to participate in the first International Tactile Symposium. Led by August Coppola and hosted by the University of California State-Long Beach, this event set out to explore the collective facets of touch and its relation to art. On the one hand, the symposium’s drive to collaborate through somaesthetic experience resonated with the countercultural ethos of the 1960s, exposing desires for community and authentic experience. On the other hand, I ask how the antagonisms found in Clark’s exhibited proposition, The and the You (1967), open a different line of inquiry into the ways in which the phenomenological concerns of touch and the socialized body resonated with mounting debates regarding the viability of collective experience in the United States. By mapping these different interpretations—made evident in the literature around the symposium, including an unpublished essay written by Oiticica for the event—I consider how the symposium held together distinct and sometimes competing ideas of what touch and collectivity could mean at the time. As much as touch offered playful opportunities to come together, it also made space to reimagine the active, relational unfolding of bodies as intersubjective, dispersed, and unevenly formed. I argue the symposium reveals a desire to find new, more meaningful art forms in light of socio-political uncertainty and change. It also offers a more nuanced history of relational art practices in the US, especially as they developed alongside shifting conceptions of personal freedom and collective agency.","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":"82 1","pages":"74 - 88"},"PeriodicalIF":0.5,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45977495","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}