Suchergebnisse

Throughout this book, the concept of framing is used to look at art, photography, scientific drawings and cinema as visually constituted, spatially bounded productions. The way these genres relate to that which exists beyond the frame, by means of plastic, chemically transposed, pencil-sketched or moving images allows us to decipher the particular language of the visual and at the same time circumscribe the dialectic between presence and absence that is proper to all visual media. Yet, these kinds of re-framing owe their existence to the ruptures and upheavals that marked the demise of certain discursive systems in the past, announcing the emergence of others that were in turn overturned.

Drawing Shadows to Stone: The Photography of the Jesup North Pacific Expedition, 1897‐1902. Laurel Kendall. Barbara Mathé. and Thomas Ross Miller. with Stanley A. Freed. Ruth S. Freed. and Laila Williamson. New York, 1997. American Museum of Natural History, New York, and the University of Washington Press, Seattle and London. 112 pp., 97 illustrations.

Catalog of an exhibition at the McMullen Museum of Art, Boston College--Chestnut Hill., Mass., held June 11-Sept. 7, 2003. ; Includes bibliographical references (pages 30-31). ; Mode of access: Internet.

To an unprecedented extent, in the wake of the #metoo movement and, some say, due to an exaggerated 'cancel culture' that proliferates online, consumers of art - from literature to film to painting - are eager to dismiss the work of immoral artists. But can we ever separate the art from the artist? In this book, philosopher Erich Hatala Matthes offers insight into this conundrum by arguing that it doesn't matter whether we can separate the art from the artist, because we shouldn't.

The aim to this article is to analyse the judgments and opinions of Africans about Europeans during the early Portuguese expeditions to West Africa in the fifteenth and early sixteenth centuries. While opinions of Europeans about Africans are for that period certified by numerous and varied sources, the opinions of Africans are difficult to examine. Cultures of the West African coast in the fifteen and early sixteen century were illiterate. Local oral traditions do not go back – within the scope of this field of interest – to such distant centuries. There are two types of sources: Firstly, African statements written down in European texts, which require a particularly critical approach; secondly, some Africans expressed their opinions about Europeans in works of Art. These include the statues of Europeans from the area of present-day Sierra Leone (the Sapi people), and from the state of Benin (the Edo people). In this article the author examines: 1) the circumstances in which the Africans expressed their opinions (ad hoc meetings, political negotiations, trade, court ceremonies); 2) the authors (individuals or social and ethnic groups), which were attributed the judgments; 3) the content of speeches; and 4) the motives which guided the Africans. Then author compares individual cases, analyses the common characteristics and the distinct features of judgments and opinions known to us, and discusses the possibility of identification of general traits of Africans' opinions about Europeans.

This article introduces and explores the concept of the deficit aesthetic. Particular attention is given to how the deficit aesthetic was made and the extent to which it continues to be sustained in early art education, especially in the United States. For many children, particularly at this time, the deficit aesthetic factors as yet another lingering obstacle to negotiate, one that re-centers the assumption of childhood drawing as a neutral practice for a natural child. As an interpretive frame, the deficit aesthetic distorts the experience of drawing by disempowering the child, decontextualizing their drawing, and re-prioritizing white Western and middle-class subjectivities.