Suchergebnisse

During the Cold War the exchange of artistic ideas and products united Europe's avant-garde in a most remarkable way. Despite the Iron Curtain and national and political borders there existed a constant flow of artists, artworks, artistic ideas and practices. The geographic borders of these exchanges have yet to be clearly defined. How were networks, centers, peripheries, scales, and distances constructed? How did (neo)avant-garde tendencies relate with officially sanctioned socialist realism? By discussing artworks, studying the writings on art, observing artistic evolution and artists' strategies, as well as the influence of political authorities, art dealers and art critics, the essays in Art beyond Borders compose a transnational history of arts in the Soviet satellite countries in the post war period.

Czechoslovakia was subject to authoritarian rule of the Communist Party since 1948 and any research had to comply with Marxism-Leninism as the sole acceptable scientific method. Czech art history (as different form art criticism) lacked any experience with Marxism. Around and after 1950, there continued the quest for a method that would be both compatible with the scholarly tradition following the Vienna School and acceptable to the ideologues of the political regime. Jaromír Neumann found the best result in his invention of "formalist iconology" around 1960: a strange hybrid of Panofsky's post-war iconology and the late Dvořák's "spiritual art history" has served Czech art history well until today.

This dissertation investigates the ways in which traditional Native American and Canadian First Nations ideas and concepts of history influence contemporary art made by artists with these backgrounds. It further takes into account an understanding of historicity as an approach to the philosophies that underlie concepts of history. The methodologies used in this analysis include investigations of mythology and ritual practice, ideas about landscape, and the roles of personal lives and biographies as forms of historical documentation. It also includes an examination of specific government laws and treaties, which are forms of more standard historical sources. Throughout the text, there is a concern with the ways in which artists use their practice to reclaim historical agency lost in the process of colonization. This agency is manifest in myriad ways, including the reference of traditional myths and ritual practices described in academic texts and artistic critiques of the laws enacted by settler governments. This dissertation also considers the manner in which this agency is transferred from artist to art object, allowing the artwork to manifest and display the agency of the artist herself or himself. Through the use of traditional concepts of history and historicity, Native American and Canadian First Nations artists reassert their rights of agency within the historical record. They do so through reference to traditional ideas and as full participants in the contemporary art world. In so doing they reclaim a degree of control over their own histories, producing works and discourses that present, or intentionally refuse to present, a continuity with the historical past that has otherwise often been denied to modern indigenous Americans

This paper will examine the expanded role Contemporary art has assumed in rebranding Paris, France's flagship capital, as a cutting edge, technological, innovative and competitive global city. Paris has effectively incorporated contemporary art into the fabric of the whole city with exhibitions such as those originating at the Grand Palais spreading to venues throughout the inner and outer 'quartier'. France has used arts and culture to claim supremacy in the world whether colonial or local for centuries with Paris the ultimate 'brand'. Post WWII Paris however, saw this brand diminished and claims to artistic supremacy replaced by New York. In an effort to regain some relevancy Paris, and by extension France, began the process of re-branding concordant with political, economic and technological advancement through the fervent promotion of contemporary art. Contemporary Paris through contemporary art aspires to a transnational and post-national site of spectacle; a leading locus for art to be consumed. Paris's mass contemporary art consumption era began in 1972 with De Gaulle's efforts to replace military and imperial power with cultural dominance (though the recent concurrent inaugurations of outposts for the French military and the Louvre in Abu Dhabi may suggest a 'rapprochement' of the domains), inaugurating a litany of new contemporary exhibitions, art fairs, monuments and museums. Furthermore, with the redefinition of contemporary French art from an art produced by French artists to art produced in the "territory of France", this universalizing re-branding of contemporary art attempts to validate Paris's claim to global cultural supremacy. I discuss particular events such as the art fair FIAC, La Force de L' Art and Monumenta to illustrate the use of Contemporary art to shape and brand contemporary Paris.

This paper will examine the expanded role Contemporary art has assumed in rebranding Paris, France's flagship capital, as a cutting edge, technological, innovative and competitive global city. Paris has effectively incorporated contemporary art into the fabric of the whole city with exhibitions such as those originating at the Grand Palais spreading to venues throughout the inner and outer 'quartier'. France has used arts and culture to claim supremacy in the world whether colonial or local for centuries with Paris the ultimate 'brand'. Post WWII Paris however, saw this brand diminished and claims to artistic supremacy replaced by New York. In an effort to regain some relevancy Paris, and by extension France, began the process of re-branding concordant with political, economic and technological advancement through the fervent promotion of contemporary art. Contemporary Paris through contemporary art aspires to a transnational and post-national site of spectacle; a leading locus for art to be consumed. Paris's mass contemporary art consumption era began in 1972 with De Gaulle's efforts to replace military and imperial power with cultural dominance (though the recent concurrent inaugurations of outposts for the French military and the Louvre in Abu Dhabi may suggest a 'rapprochement' of the domains), inaugurating a litany of new contemporary exhibitions, art fairs, monuments and museums. Furthermore, with the redefinition of contemporary French art from an art produced by French artists to art produced in the "territory of France", this universalizing re-branding of contemporary art attempts to validate Paris's claim to global cultural supremacy. I discuss particular events such as the art fair FIAC, La Force de L' Art and Monumenta to illustrate the use of Contemporary art to shape and brand contemporary Paris.

This essay looks at modern Italian art circulating in the United States in the interwar period. Prior to the canonization of recent decades of Italy's artistic scene through MoMA's 1949 show Twentieth-Century Italian Art, the Carnegie International exhibitions of paintings in Pittsburgh were the premier stage in America for Italian artists seeking the spotlight. Moreover, the Italian government actively sought to promote its own positive image as a patron state in world fairs, and through art gallery exhibitions. Drawing mostly on primary sources, this essay explores how the identity of modern Italian art was negotiated in the critical discourses and in the interplay between Italian and American promoters. While in Italy much of the criticism boasted a self-assuring "untranslatable" character of national art through the centuries, and was obsessed by the chauvinistic ambition of regaining cultural primacy, especially against the French, the returns for those various artists and patrons who ventured to conquer the American art scene were meager. Rather than successfully affirming the modern Italian school, they remained largely entangled in a shadow zone, between the glaring prestige of French modernism and the glory of the old masters (paradoxically enough, the only Italian "retrospective" approved by MoMA before 1949). Some Italian modernists, such as Amedeo Modigliani, Giorgio de Chirico, and Massimo Campigli, continued to be perceived as French, while the inherent duality and ambiguity in the critical discourse undergirding the Novecento and the more expressionist younger generation – which struggled to conflate Italianism and modernity, traditionalism and vanguardism – made the marketing of an Italian school more difficult. Therefore, despite some temporary critical success and sales, for example for Felice Carena, Ferruccio Ferrazzi, and Felice Casorati, the language of the Italian Novecento was largely "lost in translation."

Art=Text=Art: Works by Contemporary Artists Wednesday, August 17 to Sunday, October 16, 2011Joel and Lila Harnett Museum of Art On view in the Harnett Museum of Art, University of Richmond Museums, from August 17 to October 16, 2011, Art=Text=Art: Works by Contemporary Artists features 72 works created between 1960 and 2011, that include text or reference textual elements. Many of the works reflect developments in modern and contemporary art and critical theory, and relate to concurrent politics, history, and philosophy. Among the more than 40 artists included in the exhibition are Alice Aycock, Trisha Brown, Dan Flavin, Jane Hammond, Jasper Johns, Sol LeWitt, Ed Ruscha, Karen Schiff, Cy Twombly, John Waters, and Lawrence Weiner. Art=Text=Art was organized by the University of Richmond Museums and curated by N. Elizabeth Schlatter, Deputy Director and Curator of Exhibitions, University Museums, with Rachel Nackman, Curator of the Kramarsky Collection, New York. The exhibition and programs were made possible in part by the University of Richmond's Cultural Affairs Committee, and funds from the Louis S. Booth Arts Fund. The exhibition is accompanied by an online catalogue featuring images of all of the works in the exhibition, an essay by N. Elizabeth Schlatter, and entries contributed by University of Richmond alumni and students among other artists, writers, curators, and critics. It is free and accessible at www.artequalstext.com. Read the essay by N. Elizabeth Schlatter by choosing the download button. ; https://scholarship.richmond.edu/exhibition-catalogs/1001/thumbnail.jpg

In this essay, we will consider how censorship affects discourses of contemporary art in the Republic of Macedonia. To do so, we must first outline the cultural, political and social contexts in Macedonia; consider some differing standpoints on what constitutes contemporary art practice in the country; and, having done so, develop in detail two case studies which will allow the reader to gain an understanding of how censorship is deployed as a tactic in erasing, or in rendering illegitimate, critical contemporary art. Although, as we shall see, contemporary art occupies a marginal and, arguably, subterranean position in Macedonia, such censorial interventions are an acknowledgement of its potential to shape cultural debate in a different way.

History, Use Value, and the Contemporary Work or Labour of Art examines the relationships between our current conception of contemporary art practice as work or labour and situates this within a historical discourse of work or labour as Use Value (re-Marx, Das Kapital, vol.1, 1867) or, more specifically, the idea that art, as a form of non-alienated labour, can act as both an aesthetic and ethical rebuff to the physical and mental alienation and fractalization of insturmentalized labour under our present conditions of neo-liberal globalization. As such the essay seeks to re—examine the relationship of aesthetics to politics in Rancière's notion of a 'meta-politics of aesthetics' and to offer alternative ways of thinking through and beyond this binarism through a re-reading of ethical labour in Marx and Hegel's proposition of the 'Unhappy Consciousness' in 'The Phenomenology of Sprit' (1807). The book What's the Use? Consteallations of Art, History, and Knowledge: A Critical Reader, also contains articles by international writers John Ruskin, Adrian Rifkin, Georges Didi-Huberman, George Yúdice and artists Tania Bruguera and Liam Gillick.

En el ensayo La Exforma , Nicolas Bourriaud se pregunta por la relación entre el arte y la política en la contemporaneidad. En dicha relación, el autor observa una operación común que atraviesa todas las capas de la existencia: la expulsión. De este modo, el mundo se encuentra dividido entre: lo real y lo ideal. El primer concepto refiere a lo productivo, lo útil; el segundo, a lo no-rentable. Ahora bien, ¿qué se expulsa?, ¿quiénes determinan lo que se excluye? ; In the essay La Exforma [The exform], Nicolas Bourriaud asks about the relationship between art and politics in contemporaneity. In this relation the author observes a common operation that crosses all the layers of existence: the expulsion. In this way the world is divided between: the real and the ideal. The first concept refers to the productive, the useful; the second, to the non-profitable. Now, what is ejected? Who determines what is excluded? ; Reseña a Nicolas Bourriaud (2015). La exforma . Ciudad Autónoma de Buenos Aires, Argentina: Adriana Hidalgo, 142 páginas ; Facultad de Bellas Artes

The visual arts (like music and literature) have been immeasurably enriched by the contributions of artists from every land. In every nation, there is a unique story of cross-fertilization and cultural contributions by the immigrant imagination, coming from every direction of the globe. This paper will introduce historical and recent refugee art by examining imagery created by outcasts, usually in refugee camps which, by their political definition, are meant to have no history, no permanence and (like their residents), no future. These travellers, like their imagery, is meant to be forgotten.

What role might art exert in light of the challenges posed by climate change, resource depletion, and the diverse political and cultural crises our societies face in the twenty-first century? The hypothesis guiding this book is born of Félix Guattari's claim that in confronting the multi-faceted problems of our global political economy we need to develop a more complex analysis of nature, culture and technology, shifting from catastrophic, end-of-the world narratives to productive, generative, trans-species alliances for the sake of the sustainability of life on the planet. Because capitalism is no longer understood merely as a mode of production but as a system of semiotization, homogenization, and of transmission of forms of power over goods, labour and individuals, only the emergence of other relational subjective formations would be able to counteract the fixation of desire towards capital and its diverse crystallizations of power. New social practices, new aesthetic practices and new practices of the self in relation to the other are summoned to undertake an ethical-political reinvention of life. As Guattari argues, it is about reappropiating universes of value and paving the way for the emergence of processes of singularization involving a mutating subjectivity, a mutating socius, and a mutating environment. This book is engaged in thinking about the conjunction of the ecological turn in contemporary art and the attention given to matter in recent humanist scholarship as a way of exploring how new configurations of the world suggest new ways of being and acting in that world. Contributors investigate the means by which art can act as an existential catalysist, providing ways of changing our modes of relation beyond traditional modes of representation and, in doing so, instituting transformation.

This will be the first ever book on contemporary art in Bosnia & Herzegovina, in any language. The book derives from a period of three years of research and participatory observation around the differing art activities in BiH. In a challenging contextual essay, the key drivers of contemporary art in the country are considered. The main themes discussed are the legacy of the 1992-95 war, the collapse of infrastructure, informality, futavizam, art activism and politics, art and the environment, Yugoslavism, and diaspora. In addition to fleshing out these broader themes, the book will consider key works of contemporary art in grater detail, in order to open out the complex interplay of these themes in individual works. Lavishly illustrated, the book will provide a key starting point both for the general and the academic reader, and will stand as a guide to BiH art for many years to come.

In this article, Healoha Johnston considers how five contemporary artists describe the interconnectivity of the environment and aloha ʻāina through their work. Recent installations and exhibitions featuring artwork by Bernice Akamine, Maile Andrade, Sean Browne, Imaikalani Kalahele, and Abigail Romanchak engage issues of sustainability, articulate genealogical connections to ʻāina, and decribe the possibilities for regenerative relationships to ʻāina through materials, form, and content. This essay considers the impact of the 1970s Hawaiian Renaissance as a cultural and political movement that re-centered the relationship between Kānaka and ʻāina, and catalyzed Hawaiʻi's contemporary art scene with a political dimension that visualized Kanaka ʻŌiwi resurgence.

In the 1930s, when the world-renowned Medieval and Renaissance art scholar Erwin Panofsky became acquainted with the New York contemporary art scene, he was challenged with the most difficult dilemma for art historians. How could Panofsky, who was firmly entrenched in the kunstwissenschaftliche study of art, use his historical methods for the scholarly research of contemporary art? Can art historians deal with the art objects of their own time? This urgent and still current question of how to think about "contemporaneity" in relation to art history is the main topic of this paper, which departs from Panofsky's 1934 review of a book on modern art. In his review of James Johnson Sweeny's book Plastic Redirections in 20th Century Painting, Panofsky's praise for Sweeney's scholarly "distance" from contemporary art developments in Europe is backed by a claim for America's cultural distance, rather than a (historical) removal in time. Taking a closer look at Panofsky's conflation of historical/temporal distance with geographical/cultural distance, this paper demonstrates a politically situated discourse on contemporaneity, in which Panofsky proposes the act of writing about the contemporary as a redemptive act, albeit, as this paper will demonstrate, without being able to follow his own scientific method.