HAIR CLUB: A Case Study for Socially Engaged Art History

2021 ◽  
pp. 225-233
Author(s):  
Suzanne Gold ◽  
Kelly Lloyd ◽  
Michal Lynn Shumate
Keyword(s):  
Art History ◽  
Socially Engaged Art

MapTap and Cornelia Slow Digital Art History and Formal Art Historical Social Network Research

2016 ◽  
Vol 79 (3) ◽  
pp. 315-330 ◽  
Author(s):  
Koenraad Brosens ◽  
Klara Alen ◽  
Astrid Slegten ◽  
Fred Truyen
Keyword(s):  
Social Networks ◽  
Social Network ◽  
Early Modern ◽  
Data Model ◽  
Art History ◽  
Digital Art ◽  
Unique Data ◽  
Network Research ◽  
Custom Made

Abstract The essay introduces MapTap, a research project that zooms in on the ever-changing social networks underpinning Flemish tapestry (1620 – 1720). MapTap develops the young and still slightly amorphous field of Formal Art Historical Social Network Research (FAHSNR) and is fueled by Cornelia, a custom-made database. Cornelia’s unique data model allows researchers to organize attribution and relational data from a wide array of sources in such a way that the complex multiplex and multimode networks emerging from the data can be transformed into partial unimode networks that enable proper FAHSNR. A case study revealing the key roles played by women in the tapestry landscape shows how this kind of slow digital art history can further our understanding of early modern creative communities and industries.

scholarly journals Museari: Art in a Virtual LGBT Museum Promoting Respect and Inclusion

2022 ◽  
pp. 180-197
Author(s):  
Ricard Huerta
Keyword(s):  
Human Rights ◽  
Teacher Training ◽  
Data Collection ◽  
Focus Groups ◽  
Art History ◽  
Participant Observation ◽  
Assessment Instruments ◽  
Virtual Museum ◽  
Sexual Diversity

Museari is an online museum dedicated to upholding human rights and sexual diversity through art, history, and education. Museari was born in 2015 and since then more than 70 exhibitions have been presented. This paper analyzes Museari's interest in teacher training, something that has been especially positive during the Covid-19 pandemic. The objective of the research is to reflect on the opportunity to use a virtual museum to address issues of art and education. For data collection, we used assessment instruments specific to the case study, such as diagnoses, discussions, focus groups, and participant observation. We highlight museum’s positive reception by the students, particularly the role it plays in overcoming stereotypes and conventional taboos to achieve inclusive environments.

The issue is moot: Decolonizing art/artifact

2021 ◽  
pp. 135918352110696
Author(s):  
Ruth B. Phillips
Keyword(s):  
Art History ◽  
Paradigm Shift ◽  
Indigenous Studies ◽  
Vantage Point ◽  
Visual Anthropology ◽  
Quarter Century ◽  
Royal Ontario Museum ◽  
Settler Society ◽  
Pro Forma

This article seeks to step back from the long-standing debate between art and artifact—aesthetics and science-- understood as terms that reference central concerns of the quintessentially modern Western disciplines of art history and anthropology. In their landmark edited volume The Traffic in Culture: Refiguring Art and Anthropology, George Marcus and Fred Myers explored the growing convergences exhibited by the concerns and methods of practitioners of the two disciplines, both in the academy and the museum. By training our attention on contemporary artworlds—understood as systems-- they illuminated the exchanges of aesthetic and conceptual ideas and forms that have brought Western and non-Western arts into shared discursive and real spaces. Yet in the quarter century since the book’s publication there has been a noticeable retreat from attempts by the proponents of visual studies and an expanded visual anthropology to actualize disciplinary convergences. The boundaries that separate art and anthropology have not been dissolved. Art historians and anthropologists continue to ask different questions and to support different regimes of value. From the author’s vantage point in a settler society currently directing considerable energies to institutional projects of decolonization the old debates have rapidly been receding as a new ‘third term’ – Indigenous Studies-- intrudes itself on the well trodden terrain. Not (yet) definable as a discipline but, rather, maintaining itself as an orientation, Indigenous Studies nevertheless renders the earlier disciplinary debates moot. Place, rather than time-based, collective rather than individual, holistic rather than either disciplinary or interdisciplinary, Indigenous Studies formulations exert decolonizing pressures on institutions that are rapidly mounting. Using Anishinaabeg: Art and Power, a show in 2017 at the Royal Ontario Museum (ROM), as a case study, this article shows how an exhibition moved representation away from the art/artifact dichotomy as well as from contested strategies of ‘inclusion’ and pro forma recognitions of ‘Indigenous ontology’ toward a genuine paradigm shift.

Analogical or Existential Culture: A Case Study in Art History

2018 ◽  
pp. 253-267
Author(s):  
Arthur Pontynen
Keyword(s):  
Art History

Student Docent Projects as Socially Engaged Art History

2021 ◽  
pp. 259-265
Author(s):  
Rebecka A. Black ◽  
Carissa DiCindio
Keyword(s):  
Art History ◽  
Socially Engaged Art

Social Smoking and French Fancies: The Dublin Art(s) Club, 1886–98

2020 ◽  
Vol 25 (3) ◽  
pp. 365-380
Author(s):  
Kathryn Milligan
Keyword(s):  
National Identity ◽  
Art History ◽  
Cultural Exchange ◽  
Art World ◽  
Active Engagement ◽  
Cultural Revival ◽  
British Art ◽  
History Of ◽  
The City

Abstract ABSTRACT The Dublin Art(s) Club, which operated in the Irish capital from 1886 to 1898, offers an intriguing case study for modes of artistic networks and cultural exchange between Ireland and Britain in the closing decades of the nineteenth century. Despite this, the history of the Club has been little explored in historiography to date, often confused with other ventures by artists in the city. Examining the rise and fall of the Dublin Art(s) Club, along with its members and activities, this article retrieves its history and posits that it offers an example of an aspect of art in Ireland which was conspicuous for its cosmopolitan outlook and active engagement with the wider British art world, which then spanned across both islands. The history of the Dublin Art(s) Club poses a challenge to the extant scholarship of this period in Irish art history, which to date has been largely understood to be focused on themes of national identity, the cultural revival, and artists who left Ireland to train in Belgium and France. This article posits that by re-engaging with the activities of art clubs and societies, a more complex reading of artistic life in Victorian Dublin can emerge.

Wave of the Future? Reconsidering the Neuroscientific Turn in Art History

Leonardo ◽  
2016 ◽  
Vol 49 (1) ◽  
pp. 25-31
Author(s):  
Kate Mondloch
Keyword(s):  
Art History ◽  
Science Research ◽  
Human Experience ◽  
The Body ◽  
History Taking ◽  
Brain Science ◽  
Works Of Art ◽  
Brain Sciences ◽  
The Brain

This essay examines the much-contested “neuroscientific turn” in art history, taking the cues of the best of the turn while rejecting its false starts. The most promising transdisciplinary encounters spanning the brain sciences and the humanities begin from the premise that human experience is embodied, but the “body” itself is interwoven across biological, ecological, phenomenological, social and cultural planes. Certain media artworks critically engaged with neuroscience productively model such an approach. Taking Mariko Mori’s brainwave interface and multimedia installation Wave UFO (1999–2002) as a case study, the author explores how works of art may complicate and augment brain science research as well as its dissemination into other social and cultural arenas.

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