Art

Ways of Reading. Visual Music Course Development at OCADU

by Robert Appleton

Ways of Reading. A course at OCAD University conceived and taught by Robert Appleton using sound, text and image.

MUSEUMISATION OF THE PRESENT

by Suresh Pillai

The Influence of Art and Performance on the Rise of American Independent Cinema

by Tom Tenney

The Parallel Lives of Benjamin Britten and Peter Grimes

by Herman H. Leptz IV

New York University 2011

L’art éphémère

by Marcienne Martin

In circulation : An interdisciplinary Journal of Media, arts, politics
Department of Art History & Communication Studies – University McGill, Montréal, Québec,
Canada, 2011, p. 51-60.

La contemporanéité ouvre sur de nouveaux paradigmes découlant de découvertes qui ont révolutionné le rapport de l‘être... more La contemporanéité ouvre sur de nouveaux paradigmes découlant de découvertes qui ont révolutionné le rapport de l‘être humain au monde manifesté. Ce dernier se mesure désormais en année-lumière en ce qui concerne les mondes galactiques jouxtant le nôtre. Quant à notre planète, dénommée aussi village global, les distances ne se mesurent plus en termes d‘unités de longueur, mais en termes d‘unités de temps. Ces nouveaux rapports à la distance et au temps ont été investis par l‘artiste qui, dans l‘athanor de son âme, opère à leur redéfinition. Le support de la réalisation artistique ne s‘inscrit plus dans la pierre ou dans la toile, grosse de l‘oeuvre et garante de sa pérennité. La nouvelle donne artistique a remis à plat les anciens codes. L‘artiste utilise aussi bien des objets mis au rebut dans le cadre de l‘arte povera ou, encore, il inscrit son oeuvre dans le seul espace, réduisant le temps à sa seule réalisation et mémorisation comme dans l‘art éphémère. L‘inscription mémorielle de l‘oeuvre ne couvrira que quelques secondes, le temps d‘appuyer sur le déclencheur de l‘appareil
photographique, pour ne citer que ce type de technologie. L‘écriture artistique transcende les champs sémantiques habituels pour en découper de nouveaux, en faire
éclore des harmoniques étranges, plus tout à fait humaines, proches des chants de l‘univers, aux confins de l‘ordre et de l‘entropie et dans un pas de deux où le temps devient malléable et l‘espace de l‘oeuvre une histoire contingente écrite dans un continuum intégrant oeuvres, artistes et observateurs.

'Lessons in Seeing: Art, Religion and Class in the East End of London, 1881–1898', Journal of Victorian Culture (2011) 16:3, 385-403.

by Lucinda Matthews-Jones

In 1881 the Reverend Samuel Barnett, Anglican incumbent of St Jude's Church, Whitechapel, established the Whitechapel... more In 1881 the Reverend Samuel Barnett, Anglican incumbent of St Jude's Church, Whitechapel, established the Whitechapel Fine Art Exhibitions with his wife Henrietta. These quickly became an important part of the parochial programme ofSt Jude's. The Barnetts followed the art theories of John Ruskin and Matthew Arnold and argued that exhibiting famous and beautiful paintings would revive the spirituality of poor East Enders. In order to test this theory, they introduced the practice of ‘Voting for Your Favourite Picture’. The result, however, did not bear out straightforwardly the Barnetts' belief that paintings are ‘Windows into the other World’. The gap between the intended outcome and the actual reception of the Whitechapel Exhibitions reveals that, although they may not have adopted the Barnetts' religious aestheticism, working-class visitors were keen to engage with art on their own terms.

Church Space in Byzantium

by Sotiria Kordi

by Sotiria Kordi

Being a social space, the church building is a social product. This term however, does not refer to a collective... more Being a social space, the church building is a social product. This term however, does not refer to a collective product, created through a type of collective, anonymous productive procedure, but rather to a product created by certain individuals in order for it to be used, lived, and consumed by a community.

Krpič, T. 2006. Suburbs in Our Minds: Art and Critique of Cultures of Fear in the Light of Cognitive Sociology. Teorija in praksa 43 (3-4): 523-539.

by Tomaž Krpič

Abstract

Author’s intention is to illustrate E. Zerubavel’s typology of mind, used as an analytical tool... more Abstract

Author’s intention is to illustrate E. Zerubavel’s typology of mind, used as an analytical tool for critical interpretation of modern cultures of fear and terror as presented in the movie Predmestje (Suburbs) of one of currently most influential Slovene movie director V. Möderndorfer. Typology of mind consists of three elements: the rigid, the fuzzy and the flexible mind. Author states that the rigid mind, as an essential element of culture of fear, contributes to the construction of many social phenomena, such as homophobia, xenophobia and general intolerance towards others, by rising cognitive boundaries and establishing rigid social order. By application of the fuzzy mind, contained in the form of artistic cognitive promiscuity, transgression of cognitive boundaries is possible. Yet, art itself, without certain moral background, cannot provide adequate social critique. Moral standards allow constitution of the third type of mind, the flexible mind, which mediate between the art and the social context. Author believes that Möderndorfer’s movie Predmestje presents an excellent example of interwoveness of above-mentioned typology of mind by indicating the shift of Slovenian society towards modern culture of fear and terror along with longing for more humane moral order.

Rembrandt - Life and Works (Ρέμπραντ - Η ζωή και το έργο του)

by Athanasios Papakostas

Taboo is dead. Long live Art.

by Eugenia Ilion

Article in "Kunstmagazin Berlin" 2008

BOOK REVIEW - The Art of Life By Sabin Howard and Traci L. Slatton

by Darrelyn Gunzburg

This book is novelist Traci L. Slatton’s eulogy to the work of her figurative sculptor husband Sabin Howard, his... more This book is novelist Traci L. Slatton’s eulogy to the work of her figurative sculptor husband Sabin Howard, his journey towards becoming a figurative sculptor and the process he has come to use in the last 29 years.

Book Review - A Laboratory for Art by By Francesca G. Bewer

by Darrelyn Gunzburg

This engaging and absorbing book, written by Francesca G. Bewer, research curator at the Harvard Art Museum’s Straus... more This engaging and absorbing book, written by Francesca G. Bewer, research curator at the Harvard Art Museum’s Straus Centre for Conservation and Technical Studies, describes the emergence of conservation practices and the application of the scientific method in America through the initiative of Edward Waldo Forbes, the director of Harvard University’s Fogg Museum. His work led to the education and training of museum professionals through the best practices of mentoring and apprenticeship.

Negotiating Identity in Online Contexts: A Look at the deviantART Community

by Lesleyanne Drake

Undergraduate thesis, University of Florida, 2012

Increasingly in today’s society, online communities are sites of social and cultural interchange where identity is... more Increasingly in today’s society, online communities are sites of social and cultural interchange where identity is shaped and negotiated.  My research examines a website for artists and art lovers in order to determine how participation in this online community affects its users’ identity.  Due to the highly personal nature of creating and viewing artwork, I predicted that art would be the primary form of identity expression on the website.  I conducted 24 semi-structured interviews with members of the website, focusing on five themes related to identity.  My findings confirmed my hypothesis and revealed that users engage in a process of identity refocusing which enables them to maximize selected aspects of identity while minimizing others.  This insight provides a more nuanced view of social interaction in online communities and contributes to a broader understanding of how identity is performed and constructed in cyberspace.

2012 Whitney Biennial

by Tim Gilman-Sevcik

A meditation on the biennial originally written for Lidovy Noviny newspaper in Prague

Ecology and the art of the possible

by Marco Cuevas-Hewitt

Forthcoming. Due for publication in mid-2012. Draft available for viewing.

First paragraph: "Evocative images, wispy like memory, light up the walls of a sunless room in an old colonial... more First paragraph: "Evocative images, wispy like memory, light up the walls of a sunless room in an old colonial era mental asylum turned art gallery. In their glow, an odd array of objects: Time-worn furniture, an antique French stereoscope, a bouquet of native flowers, jars of assorted bush tucker. Binding them are the invisible threads of stories, gathered up and re-woven by artists Tessa Zettel and Karl Khoe of the Sydney-based collective, Makeshift, during their two sojourns in Esperance in the autumn and spring of 2011. The black and white projection at the focal point of the installation conveys an eighteenth century dining scene, seemingly plucked out of Europe and parachuted into the dry salt lake where it was filmed, save for the bloodroot, wattleseed, and other edible native plants comprising the spread. Adding to its curiousness is the artists’ unusual choice to film it as a tableau vivant or ‘living picture’. This now-quaint convention, once popular as a form of entertainment at the soirees of aristocratic elites, involves the presentation of a scene by a silent and motionless cast of characters as if imitating a painting or photograph. The effect achieved by Makeshift is a film reel resembling a slideshow of images from the colonial frontier, eerily still but for the tablecloth flapping in the breeze..."

The perception of art and the science of perception

by Robert Pepperell

Proceedings of SPIE conference, California, 2012, Human Vision and Electronic Imaging XVII, edited by Bernice E. Rogowitz, Thrasyvoulos N. Pappas, Huib de Ridder, Proc. of SPIE-IS&T Electronic Imaging, SPIE Vol. 8291

For many centuries, artists have studied the nature of visual experience and how to convincingly render what we see.... more For many centuries, artists have studied the nature of visual experience and how to convincingly render what we see. The results of these investigations can be found in all the countless artworks deposited in museums and galleries around the world. Works of art represent a rich source of ideas and understanding about how the world appears to us, and only relatively recently have those interested in the science of vision started to appreciate the many discoveries made by artists in this field. In this paper I will discuss some key insights into vision and perception revealed by artists, and show how they can help current thinking in science and technology about how best to understand the process of seeing. In particular, I will suggest some artistic ideas continue to present fundamental challenges to conventional ideas about the nature of visual experience and how it is represented.

Symbols of Power in Rituals of Violence: The Personality Cult and Iconoclasm on the Soviet Empire’s Periphery (East Germany, 1945–61)

by Alexey Tikhomirov

published in: Kritika: Explorations in Russian and Eurasian History, Volume 13, Number 1, Winter 2012, pp. 47-88.

Ljudske aktivnosti. Bespomoćni (Human activities. Helpless)

by Srdjan Tunic

A catalogue text on Simonida Rajčević's artworks. Exhibition "Ljudske aktivnosti. Bespomoćni/Human conditions. Helpless", shared by galleries Zvono and Railways Museum, Serbia.

In Serbian.

http://www.simonidasimonida.com/index.html

Arteterapia: un enfoque psicosocial

by Margaret Hills de Zárate

The Value of the Hand - Cathie Pilkington

by Benedict Carpenter

Published in 'The Medal' No.60 Spring 2012

This paper analyses the work of contemporary British sculptor Cathie Pilkington. It concentrates on her quotation of... more This paper analyses the work of contemporary British sculptor Cathie Pilkington. It concentrates on her quotation of craft and fine art processes as a satirical strategy to question the reflexive authority that aggregates around Romantic notions of genius. Her recent BAMS medal is discussed at some length, particularly in relation to the awkward status of the form, sitting as it does between the defined cultures of art and craft.