Given the Tino Sehgal Case: How to Save the Future of a Work of Art that Materializes Only Temporarily

2009 ◽  
Vol 34 (2) ◽  
pp. 194-199 ◽  
Author(s):  
SANDRA UMATHUM
Keyword(s):  
Visual Arts ◽  
Performance Art ◽  
Work Of Art ◽  
Unique Position ◽  
Works Of Art ◽  
History Of Art ◽  
The Future ◽  
History Of ◽  
The Way

This article focuses on German artist Tino Sehgal (born in 1976), whose works of art materialize only temporarily, while they fulfill, at the same time, all the requirements that any work of the visual arts must fulfill if it is to have a lasting existence. In this regard Sehgal's artistic approach not only takes a unique position within the history of art; it also departs fundamentally from the tradition of performance art. This article deals with the way Sehgal tries to save the future of the ephemeral situations his art puts forth, and shows, furthermore, how he thereby confronts questions and problems that performance art has neglected or even generated.

scholarly journals Valaam Monastery School of Painting

Secreta Artis ◽  
2021 ◽  
pp. 41-72
Author(s):  
Svetlana Evgenievna Bolshakova
Keyword(s):  
Historical Development ◽  
Human Anatomy ◽  
Works Of Art ◽  
The Future ◽  
Religious Paintings ◽  
History Of ◽  
Imperial Academy ◽  
The Way

The article is dedicated to the formation of Valaam’s own school of painting for monks and novices of the monastery. This process consisted of several stages connected to both the historical development of the monastery itself, as well as the expanding influence of the Russian Imperial Academy of Arts. The official establishment of the painting school, which trained artists according to academic methods, dates back to the late 19th – early 20th centuries. The entire preceding history of the monastery paved the way for the inauguration of the school. In particular, the monastery gathered a carefully selected collection of engravings and reproductions of famous religious paintings, art manuals, human anatomy atlases and picturesque copies of popular works of art. Construction of the new Transfiguration Cathedral, to be supposedly painted by monastery artists, provided the main impetus for the eventual opening of the school. Gifted Valaam monks Alipiy (Konstantinov) and Luka (Bogdanov), as well as a student of the Russian Academy of Arts, V. A. Bondarenko, taught at the monastery’s school. Among some of the most diligent students of the school were hegumen Gavrill (Gavrilov), the main proponent of its establishment and its trustee, along with monk Fotiy (Yablokov), the future head of the icon painting workshop. The school continued to operate until the monks of the Valaam Monastery were forced to flee to Finland as a result of hostilities that broke out in the archipelago during the Soviet-Finnish war of 1939–1940.

Criticizing and Evaluating the Visual Arts in India: Preliminary Example

1988 ◽  
Vol 47 (1) ◽  
pp. 3-28 ◽  
Author(s):  
Joanna Williams
Keyword(s):  
Visual Arts ◽  
Work Of Art ◽  
Works Of Art ◽  
The Way

By what standards should we judge works of art from another culture or era? We are generally used to the idea that understanding the meaning of an image requires consideration of its distinctive context—literary, religious, social, and so on. Evaluating the quality of a work of art is another specific case of this broad dilemma of understanding. Do we evaluate good and bad images by the “proper” criteria and in the way that is appropriate to them?

Conditions of Visibility

2019 ◽  
Keyword(s):  
Art History ◽  
Visual Art ◽  
Fundamental Question ◽  
Ancient World ◽  
Work Of Art ◽  
History Of Art ◽  
Shared Objects ◽  
History Of ◽  
Modern Prejudice ◽  
Historical Past

We often assume that works of visual art are meant to be seen. Yet that assumption may be a modern prejudice. The ancient world - from China to Greece, Rome to Mexico - provides many examples of statues, paintings, and other images that were not intended to be visible. Instead of being displayed, they were hidden, buried, or otherwise obscured. In this third volume in the Visual Conversations in Art & Archaeology series, leading scholars working at the intersection of archaeology and the history of art address the fundamental question of art's visibility. What conditions must be met, what has to be in place, for a work of art to be seen at all? The answer is both historical and methodological; it concerns ancient societies and modern disciplines, and encompasses material circumstances, perceptual capacities, technologies of visualization, protocols of classification, and a great deal more. The emerging field of archaeological art history is uniquely suited to address such questions. Intrinsically comparative, this approach cuts across traditional ethnic, religious, and chronological categories to confront the academic present with the historical past. The goal is to produce a new art history that is at once cosmopolitan in method and global in scope, and in doing so establish new ways of seeing - new conditions of visibility - for shared objects of study.

History of Art: A Survey of the Major Visual Arts from the Dawn of History to the Present Day

Art Journal ◽  
1963 ◽  
Vol 23 (1) ◽  
pp. 74
Author(s):  
Edwin C. Rae ◽  
H. W. Janson ◽  
Dora Jane Janson
Keyword(s):  
Visual Arts ◽  
History Of Art ◽  
History Of

A History of Art Education: Intellectual and Social Currents in Teaching the Visual Arts

1991 ◽  
Vol 31 (1) ◽  
pp. 168
Author(s):  
Mary Ann Stankiewicz ◽  
Arthur D. Efland
Keyword(s):  
Art Education ◽  
Visual Arts ◽  
History Of Art ◽  
History Of

9/11 as Avant-Garde Art?

PMLA ◽  
2009 ◽  
Vol 124 (5) ◽  
pp. 1820-1829 ◽  
Author(s):  
Richard Schechner
Keyword(s):  
Performance Art ◽  
Small Extent ◽  
First Century ◽  
Political Systems ◽  
Work Of Art ◽  
Karlheinz Stockhausen ◽  
Social Morality ◽  
Avant Garde ◽  
Single Moment ◽  
History Of

[The attacks of 9/11 were] the greatest work of art imaginable for the whole cosmos. Minds achieving something in an act that we couldn't even dream of in music, people rehearsing like mad for 10 years, preparing fanatically for a concert, and then dying, just imagine what happened there. You have people who are that focused on a performance and then 5,000 [sic] people are dispatched to the afterlife, in a single moment. I couldn't do that. By comparison, we composers are nothing. Artists, too, sometimes try to go beyond the limits of what is feasible and conceivable, so that we wake up, so that we open ourselves to another world. … It's a crime because those involved didn't consent. They didn't come to the “concert.” That's obvious. And no one announced that they risked losing their lives. What happened in spiritual terms, the leap out of security, out of what is usually taken for granted, out of life, that sometimes happens to a small extent in art, too, otherwise art is nothing.—Karlheinz Stockhausen (“Documentation”)Stockhausen aside, how can anyone call the 9/11 attack on the Twin Towers a work of art? Of what value is such a designation? What does calling the destruction of the Twin Towers a work of art assert about (performance) art, the authenticity of “what really happened,” and social morality during and after the first decade of the twenty-first century? To even begin to address these questions, I need to refer to the history of the avant-garde—because it has been avant-garde artists who for more than a century have called for the violent destruction of existing aesthetic, social, and political systems.

Veronicas and Artists

2017 ◽  
Keyword(s):  
Contemporary Art ◽  
Religious Images ◽  
The Public ◽  
The Past ◽  
History Of Art ◽  
The Status ◽  
History Of ◽  
The Way ◽  
Contemporary Artists

Chapter One deals with several central issues with regard to understanding the role of religious motifs in contemporary art. Besides being a repetition of imagery from the past, religious motifs embedded in contemporary artworks become a means to problematise not only the way different periods in the history of art are delimited, but larger and seemingly more rigid distinctions as those between art and non-art images. Early religious images differ significantly from art images. The two types are regulated according to different sets of rules related to the conditions of their production, display, appreciation and the way images are invested with the status of being true or authentic instances of art or sacred images. Chapter One provides a discussion of the important motif of the image not made by an artist’s hand, or acheiropoietos, and its survival and transformation, including its traces in contemporary image-making practices. All images are the result of human making; they are fictions. The way the conditions of these fictions are negotiated, or the way the role of the maker is brought to visibility, or concealed, is a defining feature of the specific regime of representation. While the cult image concealed its maker in order to maintain its public significance, and the later art image celebrated the artist as a re-inventor of the old image, contemporary artists cite religious images in order to reflect on the very procedures that produce the public significance and status of images.

Epilogue

2021 ◽  
Author(s):  
Patricia Emison
Keyword(s):  
Sound Recording ◽  
Work Of Art ◽  
History Of Art ◽  
History Of ◽  
Changing Role

The span of this book is roughly that of directors who had started out in silent pictures reaching the end of their careers, including their transitions to color. The introduction of sound recording and color both transformed filmmaking, not least its cost. Misgivings were voiced early on about the moral effect of the new art, even as censorship was deplored. Mannerism as an art-historical concept was being developed to supplement that of Renaissance naturalism even as filmmakers were trying to reconcile the realism to which photography might seem suited with the artificiality it also enabled. Although studying the history of film inevitably dredges up evidence of racism, sexism, and other prejudices, the history of film, like the history of art, is too complex and has long been too deeply engrained in our cultural lives for historians to choose to be ignorant of once admired works we may now in part or thoroughly deplore, as well as minor yet elucidating works that may likewise be problematic, at least in part. The supposition that respect is the default response to any work of art underestimates the changing role of laughter and other forms of active disregard, particularly during the last century.

Introduction

2021 ◽  
pp. 1-9
Author(s):  
Hans Joas
Keyword(s):  
Religious History ◽  
The Future ◽  
False Sense ◽  
History Of ◽  
The Way

This book is an attempt to divest of its enduring enchantment one of the concepts central to the way in which modernity understands itself, namely that of disenchantment. As we will see, this concept is profoundly ambiguous, as are contrasting terms such as “enchantment” and “re-enchantment,” which also began to circulate after it was coined. Such ambiguity may lead to confusion and has, in fact, often done so in this case. Conveyed covertly along with the term itself, this ambiguity may also serve to establish a false sense of certainty. This undoubtedly applies to the narrative of a progressive process of disenchantment extending across millennia. If my argument is correct, we cannot simply project this narrative forward into the future. What we need, then, is an alternative to it, or perhaps several such alternatives—new narratives of religious history as it is intertwined with the history of power, narratives that might supersede that of disenchantment....

Introduction

2009 ◽  
Vol 13 (4) ◽  
pp. 403-409
Author(s):  
Daniela Merolla
Keyword(s):  
Visual Arts ◽  
Visual Representations ◽  
Literary Studies ◽  
Human Beings ◽  
Creation Myths ◽  
History Of Art ◽  
The World ◽  
Critical Approaches ◽  
History Of

AbstractSculptures, paintings, drawings, performances, and films have often refashioned narratives of the origins of the cosmos and of human beings. The essays collected in Creation Myths and the Visual Arts investigate the interplay between image and narrative and offer critical approaches from literary studies, the history of art, archaeology, and anthropology on the interpretation and categorization of verbal and visual representations of “creation myths” from all over the world.

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