Art as a social action in the public space is becoming more popular in various forms, especially in the digital space, and especially after the recent events that have had an effect on the whole world. However, theatre as art is changing its forms of accessibility not only due to global events but also due to the changing society from various aspects, i.e., psychological, social, economic, political, etc. The article provides a comparative analysis of the concepts of social art actions and performance art, presents the features of social art actions organisation in performance art organisations in Lithuania and abroad, determines the impact of social art action on human health from the psychosocial and spiritual point of view as well as in a community; it also provides a discussion of similarities and differences of performance as not only theatre but also performance art and social art, social art actions as performance art. Moreover, the article analyses how performance is compared to social art performance, how spectator and participant audiences manifest, what inclusion of performance art as a social art action into human spiritual-psychological space provides. The article provides an analysis of how performance art cooperates with performance art organisations.
Art Style | Art & Culture International Magazine Abstract The historical approach to democratic ideals is based on the relationship between art, technique, and industry in its creative conception and the cultural influences of its practice in the process of economic, social, and political development. However, in order to better understand this relationship, this article seeks to understand the place of art and communication in the origins of Western knowledge through a brief retrospective of the evolution of verbal and visual languages. Through this panorama, essential to the meaning of art and communication, the article presents an analysis that considers the historical significance of art publications in the process of democratization, freedom of expression, the press, and art from the Renaissance to modern times, while focusing mainly upon the period from the 20th century to the present day. The purpose of technique in its global dimension is fundamental to human existence. Such technical transformations are the consequences of social achievements in the search for conquests and freedoms. However, the quest for freedom is paradoxical. Consequently, through a theoretical foundation in art, culture, and technological evolution, the article seeks to understand the development of art publications better, using examples of significant publications in the history of Western culture. On the one hand, the creative practices considering the resources and socio-cultural stimuli from Johannes Gutenberg's work with the printing press to the 20th century and the transition to the 21st century are observed. On the other hand, within this article, this publication practice is also related to the leading art magazines, and aesthetic and social reflections upon the cultural context in Europe and today's globalized world. ; Art Style, Art & Culture International Magazine is an open-access, biannual, and peer-reviewed online magazine that aims to bundle cultural diversity. All values of cultures are shown in their ...
Art Style | Art & Culture International Magazine Abstract The historical approach to democratic ideals is based on the relationship between art, technique, and industry in its creative conception and the cultural influences of its practice in the process of economic, social, and political development. However, in order to better understand this relationship, this article seeks to understand the place of art and communication in the origins of Western knowledge through a brief retrospective of the evolution of verbal and visual languages. Through this panorama, essential to the meaning of art and communication, the article presents an analysis that considers the historical significance of art publications in the process of democratization, freedom of expression, the press, and art from the Renaissance to modern times, while focusing mainly upon the period from the 20th century to the present day. The purpose of technique in its global dimension is fundamental to human existence. Such technical transformations are the consequences of social achievements in the search for conquests and freedoms. However, the quest for freedom is paradoxical. Consequently, through a theoretical foundation in art, culture, and technological evolution, the article seeks to understand the development of art publications better, using examples of significant publications in the history of Western culture. On the one hand, the creative practices considering the resources and socio-cultural stimuli from Johannes Gutenberg's work with the printing press to the 20th century and the transition to the 21st century are observed. On the other hand, within this article, this publication practice is also related to the leading art magazines, and aesthetic and social reflections upon the cultural context in Europe and today's globalized world. ; Art Style, Art & Culture International Magazine is an open-access, biannual, and peer-reviewed online magazine that aims to bundle cultural diversity. All values of cultures are shown in their ...
Art Style | Art & Culture International Magazine Abstract The historical approach to democratic ideals is based on the relationship between art, technique, and industry in its creative conception and the cultural influences of its practice in the process of economic, social, and political development. However, in order to better understand this relationship, this article seeks to understand the place of art and communication in the origins of Western knowledge through a brief retrospective of the evolution of verbal and visual languages. Through this panorama, essential to the meaning of art and communication, the article presents an analysis that considers the historical significance of art publications in the process of democratization, freedom of expression, the press, and art from the Renaissance to modern times, while focusing mainly upon the period from the 20th century to the present day. The purpose of technique in its global dimension is fundamental to human existence. Such technical transformations are the consequences of social achievements in the search for conquests and freedoms. However, the quest for freedom is paradoxical. Consequently, through a theoretical foundation in art, culture, and technological evolution, the article seeks to understand the development of art publications better, using examples of significant publications in the history of Western culture. On the one hand, the creative practices considering the resources and socio-cultural stimuli from Johannes Gutenberg's work with the printing press to the 20th century and the transition to the 21st century are observed. On the other hand, within this article, this publication practice is also related to the leading art magazines, and aesthetic and social reflections upon the cultural context in Europe and today's globalized world. ; Art Style, Art & Culture International Magazine is an open-access, biannual, and peer-reviewed online magazine that aims to bundle cultural diversity. All values of cultures are shown in their ...
Art Style | Art & Culture International Magazine Abstract The historical approach to democratic ideals is based on the relationship between art, technique, and industry in its creative conception and the cultural influences of its practice in the process of economic, social, and political development. However, in order to better understand this relationship, this article seeks to understand the place of art and communication in the origins of Western knowledge through a brief retrospective of the evolution of verbal and visual languages. Through this panorama, essential to the meaning of art and communication, the article presents an analysis that considers the historical significance of art publications in the process of democratization, freedom of expression, the press, and art from the Renaissance to modern times, while focusing mainly upon the period from the 20th century to the present day. The purpose of technique in its global dimension is fundamental to human existence. Such technical transformations are the consequences of social achievements in the search for conquests and freedoms. However, the quest for freedom is paradoxical. Consequently, through a theoretical foundation in art, culture, and technological evolution, the article seeks to understand the development of art publications better, using examples of significant publications in the history of Western culture. On the one hand, the creative practices considering the resources and socio-cultural stimuli from Johannes Gutenberg's work with the printing press to the 20th century and the transition to the 21st century are observed. On the other hand, within this article, this publication practice is also related to the leading art magazines, and aesthetic and social reflections upon the cultural context in Europe and today's globalized world. ; Art Style, Art & Culture International Magazine is an open-access, biannual, and peer-reviewed online magazine that aims to bundle cultural diversity. All values of cultures are shown in their ...
The relation of law and art is conventionally understood through a disciplinary divide that presents art as an instrument of legal practice and scholarship or, alternatively, presents law as potential context for artistic engagement. Moving beyond disciplinary definitions, in this article we explore how art and law, as modes of ordering and action in the world, often overlap in their respective desires to engage existing material orders. Whereas laws claim of producing order appears self-evident, we try to highlight, through a concept of legislative arts, the often-overlooked similar function of artistic practices. At the heart of what we refer to as legislative arts are practices that aim to challenge laws claim of authority in ordering social life through tactical combinations of elements of art and law. In examining a set of examples that include the Tamms Year Ten campaign to close a super-max prison in the United States, the work of Forensic Architecture and practices of passport forgery, we aim to highlight the possibility of manifesting social orders beyond an exclusive reliance upon state laws. Pointing to the potentials of such legislative arts practices, this article suggests that the material ordering quality of artistic and legal practices can, and perhaps should, be weaponized for challenging and remaking the world of unjust state laws.
In order to articulate the contributions that experimental performance and feminist scholarship on reproduction have already made to one another and to highlight other fruitful areas for future engagement, I examine several key moments between 1991 and 2008 when two seemingly unrelated narratives have overlapped. These narratives concern (1) the development and implementation of reproductive technologies from the sonogram to in vitro fertilization to regenerative medicine, and (2) the expansion of a range of experimental performance practices in new media and bio art performance. The moments when these histories converge are marked by a series of performances by Deb Margolin, Critical Art Ensemble, Anna Furse, the Olimpias Performance Research Group, and the Tissue Culture and Art Project, and by a body of critical writings from the artists themselves and a group of performance scholars. This journey is also marked by strategic expeditions back into the 1960s to revisit and reinterpret foundational moments in the histories of feminist, activist, and new media performance. Moving between the 1960s and the 1990s/2000s, I use contemporary performance to re-imagine the relationship between gender, technology, and embodiment in some of our origin myths about performance art. I also use the historical performances to unpack the contributions and limitations of the contemporary work. In my analysis of these materials, I do two things: I tease out how the artists in question have used experimental performance to generate new theoretical, tactical, and physical ways of engaging with reproductive technologies. At the same time, I also examine the ways in which reproductive technologies - as a set of political, ethical, and representational issues and as material objects/practices - are pushing performance theory and practice in new directions, complicating our theorizations of participation and providing new avenues for spectatorial interaction. Positioning Carolee Schneemann's Eye Body (1963) as the beginning of an unfolding of feminist corporeal interrogations of technology and technological interrogations of corporeality, I argue in Chapter 1 that genealogies of new media and feminist performance must take seriously feminist performance's long history of investigating the politics of technology. I then lay out the project's topic, scope, and the secondary literature on notions of participation, reproduction, and technology within the fields of experimental performance, science and technology studies, and feminist theory. In Chapter 2, I present a close reading of feminist playwright and performance artist Deb Margolin's solo performance Gestation (1991) alongside cultural histories of the sonogram. I pair these stories to show how feminist performance artists' experience with technologies of representation became a place where important debates around technology, agency, and embodiment could be staged at a crucial time in the history of feminist theory. Intervening in ongoing debates within new media theory about interactivity and embodiment in Chapter 3, I detail the ways in which the tactical media collective Critical Art Ensemble crafted physical and affective structures of interactivity in order to engender certain forms of public resistance to in vitro fertilization in its groundbreaking 1998 performance Flesh Machine . In Chapters 4 and 5, I move on to analyze the risks and rewards that emerged from two long-term collaborations between art and biotechnology. In Chapter 4 I put British director and producer Anna Furse's Glass Body: Reflecting on Becoming Transparent (2006-2008) in conversation with performance projects by the Olimpias Performance Research Group to demonstrate how collaborations with biomedicine reshape issues at the center of debates around social practice. In Chapter 5, I recast the Tissue Culture and Art Project's 2002 bio art performance installation The Pig Wings Project within the tradition of feminist maintenance artists such as Mierle Laderman Ukeles, Betye Saar, and Mary Kelly in order to argue that together, this new constellation of maintenance artists has crafted a set of interactive performance practices which stage maintenance and the duration of performance in order to reveal the ways in which regenerative medicine disavows its dependence on feminized labor.
Although many scholars have been in favor of providing first amendment protection for art, no one has offered a justification for its constitutional protection suited to art's singular capacities. Rather, commentators and courts have been inclined to place art under the rubric of general speech, which limits protection to ideas and content. Professor Hamilton argues that art offers significantly more than its content and deserves first amendment protection tailored to its particular potential. Art enables individuals to experience unfamiliar worlds and thereby to gain new perspectives on the prevailing status quo, including the government's. It performs this function without exposing the individual to the risks inherent in actually experiencing a foreign world view. Moreover, its subversive potential not only occurs at the moment artwork is experienced but also can be stored, making art a powerful and immanent tool of critique. Professor Hamilton concludes that governmental funding of art projects should be examined with the closest scrutiny, because governmental involvement in the art market skews the market away from works that defamiliarize. Finally, public funding of arts education and appreciation should be a high priority so that students can build a storehouse of reorientation experiences that will protect them against the bewitchment of common sense posed by official power.
2012 Fall. ; Includes bibliographical references. ; Text in German ; title and abstract in English and German. ; Graffiti, Post-Graffiti, Urban Art and Street Art are sometimes used as synonyms. Authors in the field of Street Art agree that this art form derives directly from the subway graffiti in New York, and often designate it as an art movement. This work defends the thesis that the more the art on the Berlin Wall increased the tolerance towards and integration of the art in the public spaces, the more it contributed to the popularization of the contemporary Street Art in Berlin. The goal of this paper is trifold: 1. to clarify the relationship between the Street Art in Berlin today and the art on the Berlin Wall; 2. to understand the institutionalization of this art form; and 3. to bring light to the democratization of art through Street Art in Berlin. With this purpose, I will analyze the efforts that differentiate Berlin from other cities and position Street Art not as vandalism, but rather as a part of the art in public spaces. The essence of this art form derives from site-specific art, whereby the place plays an inherent part in the artwork. These qualities can be recognized in the Street Art in Berlin from the 70's until today, and its popularization is deeply connected with the German cultural politics of the 70's and the historical significance of the Wall Art. In addition, Street Art challenges the paradigms between high and low art, as well as the contemporary role of the museum. The consequences of the institutionalization of this art form are its democratization and commodification. Finally, Street Art can be considered responsible for a Musealization from Below, whereby the place (the walls of the metropolis) becomes part of the work and its cultural, historical and identity values are emphasized. This is particularly true in the case of the Berlin Wall. Street Art is site-specific, because the works give the place a new meaning and vice-versa. Instead of simulating Street Art in an institutional space, the projects in Berlin attempt to transform the street into an art gallery, inserting the art into the life of the people and finally contributing to the democratization of art.
While normally each Spring the SAIC Department of Art Education would hold a Master's Symposium, in 2020 for reasons of public-health and a switch to all remote learning it could not be held. This publication, then, includes the thesis abstracts for all graduate students that would have been presented at the symposium. The these are not organized into panels by topic, but are instead presented simply in alphabetical order by student name. The featured students are: Lauren Hogan Casser (Master of Arts in Art Education, "Exploring Critique: Generating New Meaning in Pre-College Art Education"); Jessica Chavez (Master of Arts in Art Education, "Personalized Learning & Arts Integration"); Kim Erin Davidson (Master of Arts in Teaching, "Feminist Pedagogies: Using Small Encounters as Tools for Change"); Kaylie Deng (Master of Arts in Art Education, "A Case Study: An Improvement of Youth Development with Collaborative Animal Youth Education"); Ishita Dharap (Master of Arts in Art Education, "What the Guards Saw"); Nika Gorini (Master of Arts in Art Education, "Towards a Youth-Defined Artistic Rigor for Creative Youth Development: A Challenge to White Supremacy Culture in Art Education"); Andrew Gordon Haller (Master of Arts in Art Education, "Immersive Technology in Art Museums: Using Augmented Reality to Create Participatory Experiences with Museum Visitors"); Sean James Hamilton (Master of Arts in Art Education, "Redefining Efficacy through Agency: Climbing Out of the Achievement Gap"); Margaret Kearney (Master of Arts in Art Education, "How to Hear More: Exploring the Politics, Potentials, and Problematics of Listening and Storytelling in Community Engaged Art"); Yoko Kiyoi (Master of Arts in Art Education, "Building Clinical Skills and Resilience Through Art: Creating a Museum Program for Medical Students"); Gabriela Lavalle (Master of Arts in Art Education, "Instagram: A Tool for Art Museum Educators to Embrace Learning and Interpretation Engagement"); Katherine A O'Truk (Master of Arts in Teaching, "Books That Bind Us: Creating Curriculum for the Whole Person in the High School Art Classroom"); Ruben Felipe Pachas (Master of Arts in Art Education, "Teaching Indigenous Peruvian Dance to Non-Indigenous People"); Anagha Prasan (Master of Arts in Art Education, "A Hybrid Identity"); Maryam Rasoulzadeh (Master of Arts in Teaching, "Cultural Storytelling through Puppet, Illustration, and Performance Art with High School Students"); Jenna Russo (Master of Arts in Teaching, "Cracking the Code: Analyzing Effects of Dress Code Policies and Reimagining Uniforms with K-12 Students"); Ben G Salus (Master of Arts in Teaching, "Layering M.O.S.S. (Memories of Significant Spaces) Exploring Personal Narratives Through Mixed Media Collage"); Yuefeng Shi (Master of Arts in Art Eduation, "Chinese Visitor Experience in the Art Institute of Chicago: A Research of Accessibility, Equality and Effectiveness of Chinese Visitor Supports"); Martin Soto (Master of Arts in Teaching, "Frieze Frame: An Exercise of Student Agency in Art and Critical Pedagogy"); Rebecca Wolsten (Master of Arts in Teaching, "Hospitality in the Art Classroom"); Maggie Zeng (Master of Arts in Art Eduation, "Cultural Identity in Typography"); and Wenhan Zhang (Master of Arts in Teaching, "Puppet: A Bridge to Connect Other Worlds." Also featured is a short text piece by Sarah Ross, MAAE Director & Adam Greteman, MAT Director titled "Reclaiming an Education Amidst a Pandemic."
El arte es el terreno donde la discusión sobre el conocimiento libre se ha planteado más a fondo hasta ahora. Es necesario un arte libre pero que a la vez sea liberador, es decir, tenga conciencia política. Para ello es necesario volver a un comunalismo que defienda el bien común, el comunal. Finalmente se ofrecen una serie de propuestas para crear ese arte comunalista y libertario. ; Art is where discussion on free knowledge has been raised more often. A free art is necessary but also this art must free individuals. This art should have a political awareness. In doing so, it is necessary to go back to comunalism able to defend public goods and commons. Finally there are a set of proposals to create this communitarist and free art.
There is a fine line between what one would refer to as Erotic Art or Pornographic Art. Throughout history, art has been consistently producing erotica and pornography. In some societies this was related to religious beliefs and in others it was a part of everyday life. Today erotica and pornography are controversial, with some saying it is perfectly natural, while others are offended. Obscenity is a taboo, especially when it contains pornographic material, which many believe exploit the subject. Yet, there is a fine line between what is obscene and what is merely erotic. Sex is a subject depicted often in society, for it is used to sell merchandise, on TV shows and in movies and a popular theme in musical lyrics as well as poetry and literature. Erotica and pornography in art is a political statement. It is a statement of freedom of speech. Modern artists explore sexuality through their work, and in many cases the work is heavily critiqued by society. It is this exploration that, throughout all of history, has interested many scholars and the public as well. Representing sexuality can be both intriguing and controversial. Through analyzation one can better understand and contemplate the meaning implicit in erotic and pornographic works of art. And through further examination, one can begin to see what the subtle differences are between erotic art and pornographic art.
Texto y fotographías ; ilustraciones, fotografía color, fotografía blanco y negro ; El objetivo de mi investigación ha sido aclarar inquietudes acerca de mi papel como artista en la sociedad contemporánea. Detrás de la investigación está mi necesidad de equilibrar los elementos que llevan a cabo la creación de obras de arte. Ahondar en las preguntas que conciernen la creación de imágenes en un mundo que cambia constantemente. Las circunstancias en las que he llevado a cabo mi investigación han sido muy especiales en el contexto histórico mundial. Estos dos años han transcurrido bajo la influencia de cambios que no radicales que no podemos ignorar. Mi investigación ha sido una contribución a mi búsqueda y un esfuerzo de fusionar mi vocación artística con la actualidad política y social de mi entorno. Durante la cuarentena adopté la disciplina de hacer un diario de dibujos. Ha sido un gesto en la evolución de mi obra que ha desatado en un espectro de nuevas posibilidades. (Texto tomado de la fuente) ; The objetive in my investigation has been to clarify my inquieries in regards to my roll as an artista in contemporary society. Behind the investigation is my necesity to balance the elements that result in the creation of art. Deepen my inquisition that concern the creation of images in an ever changing world. The sircumstances in which I have done my investigation have been very special in a global historical context. These past two years have elapsed under the influence of radical changes that we cannot ignore. My investigation has been a contribution to my quest and an effort to fuse my vocation with my political and social surrounding. During the quarantine I adopted the discipline of making a diary from drawings. It has been a gesture in the evolution of my work that has unleashed a spectrum of new possibilities. ; Alejandro Ortiz Mejía ; Arte, Propaganda e ideología ; Maestría ; Maestría en Artes Plásticas y Visuales ; Creación y Teoría del Arte ; Es una investigación academica y empírica que gira en torno al dibujo
In my work, I aim to historicize the mechanics of misogyny. Through appropriation and re- authorship, the work interrogates and exposes the discreet erasure of contemporary gender inequalities and the societal attempt to obscure the historical origins of these inequalities. My thesis work has been focused on Frederick W. Macmonnies, a predominant beaux-arts sculptor responsible for many early-twentieth-century American fountains and monuments. Many of his sculptures were embroiled in controversy, on grounds ranging from their aesthetic competence to their alleged misogyny. Macmonnies' staunch academicism ran parallel to the birth of modernism, effectively expelling his name from the contemporary canon of twentieth-century American Art, despite the sculptures' continued public presence. Some remain in their original location, like the two fountains flanking the 42nd street Library in Manhattan, while others have literally been put to rest; The Triumph of Civic Virtue, once prominently displayed in front of city hall, now resides in the Green-Wood Cemetery. Allegorical sculptures were, and continue to be, installed in front of governmental buildings, intended to ground the concurrence of moral and political authority in the eyes of the elite as well as the governed. These sculptures surround every institution of confinement, present but unseen. This text functions as a theoretical framework for my practice, grounding the impetus and methodology of my engagement with Frederick MacMonnies & his works.
