O’er the Wide and Tractless Sea: Original art of the Yankee whale hunt

2019 ◽  
Vol 105 (4) ◽  
pp. 481-482
Author(s):  
Arthur G. Credland
Keyword(s):  
Original Art

Artists or Slave Laborers? Performing Uncapturability in Burkinabe Performers’ Labor Rights Struggle in South Korea

2020 ◽  
Vol 28 (2) ◽  
pp. 311-339
Author(s):  
Soo Ryon Yoon
Keyword(s):  
South Korea ◽  
Performance Studies ◽  
Migrant Workers ◽  
Original Art ◽  
Migrant Labor ◽  
Labor Rights ◽  
Media Discourse ◽  
Theoretical Frameworks ◽  
Labor Practices ◽  
Monetary Compensation

This article traces eight performers from Burkina Faso, who in 2014 protested unfair labor practices at the Africa Museum of Original Art in South Korea, where they had been hired to perform. In the process, they demonstrated political and artistic endeavors in live concerts and dance workshops to reclaim both their monetary compensation and their artists’ status. Nevertheless, public and media discourse that followed this nationwide news—no matter how sympathetic—tended to treat the artists’ experiences as merely a failed Korean dream. Using performance studies methodologies and ethnographic methods, this article uses the terms performance and performativity more capaciously to include a range of embodied acts. With this, the article argues that framing the artists’ experiences within the narrative confines of struggling migrant workers fails to capture the complex, often contradictory relationship that they have with acts of performing beyond the existing categories of migrant labor. Furthermore, the sympathetic discourse capitalizes on hypervisibility of blackness, through which the artists’ suffering becomes a spectacle. This article suggests consideration of the concept of uncapturability—the embodiment of which exposes failures of a nationalist and racialized language—as well as existing theoretical frameworks mobilized to understand the interiority of performance and the artists’ work.

Production and marketing of art in China

2015 ◽  
Vol 5 (1) ◽  
pp. 25-44 ◽  
Author(s):  
Ruby Roy Dholakia ◽  
Jingyi Duan ◽  
Nikhilesh Dholakia
Keyword(s):  
Value Chain ◽  
Socioeconomic Development ◽  
Original Art ◽  
Chinese Art ◽  
Cultural Patterns ◽  
Content Type ◽  
Material Goods ◽  
Chinese Consumer ◽  
Art Production ◽  
Contemporary Chinese

Purpose – The purpose of this paper is to explore how art production and marketing in China is attempting to move up the value chain as increasing number of Chinese replica-selling galleries seek to break free from the image of Chinese art towns as skilled but imitative centres of art production. Design/methodology/approach – In-depth interviews were conducted among seven gallery owners in Wushipu art village over three weeks to discover how art production in China has evolved and to chart its future growth. Findings – In the Chinese setting with its distinctive cultural patterns, tensions between the emergent national pride in original art and the facile and commercial moneymaking potential of simply selling industrially produced art are revealed. Practical implications – The changing dynamics of arts markets in China provide marketers and researchers a glimpse into a parallel trend: the gradual but rising shift to innovation, originality and luxury occurring in the China-based manufacturing centres of material goods. Social implications – The attempts to break from the imitative mass production of art and strike a balance between creating and meeting the art needs of the Chinese consumer indicate how domestic market priorities and economic growth are likely to serve as the new fuel for contemporary China’s socioeconomic development. Originality/value – Via an interpretive look at contemporary Chinese modes of arts production and marketing, the paper revisits the antagonism between the creation of original art and the production of industrial art in a context not well-known in the west, the massive art production centres of China.

scholarly journals Searching for a Space for Conversation: A study on how environment affects the articulation of the art experience among opera audiences at The Royal Danish Theatre

2017 ◽  
Vol 28 (2) ◽  
pp. 146
Author(s):  
Anna Lawaetz ◽  
Nina Gram ◽  
Christina Østerby
Keyword(s):  
Original Art ◽  
Detailed Knowledge ◽  
Explorative Study

“Tell me about your experience in the theatre today”. Even though theatres (with this question) may seek honest, personal, and in depth answers from the audience, this question often results in superficial responds focused on what the audience suspect the theatre wants to hear. It can thus be difficult to get personal and detailed knowledge about the audiences’ experience. In a time, where theatres with different means (co-creation, participation etc.) try to keep audience loyal and engaged, this knowledge is important. In our project, we explore how different situations, locations, questions etc. affect conversations about art experiences and in this article we describe our “search for a space for conversation”. We explore how the space affects the conversation, and how the setting can emphasize certain elements. What happens to the conversation if we sit around an ordinary meeting table, if we walk and talk outside the art institution or if we talk inside the auditorium, where we had the original art experience? This explorative study is part of the project “A Suitcase of Methods”, which is housed by The Royal Danish Theatre and financially supported by The Bikuben Foundation.

The Reincarnation of the Aura

2018 ◽  
pp. 221-230
Author(s):  
Victoria Bigliardi
Keyword(s):  
Nineteenth Century ◽  
Material Culture ◽  
Fifteenth Century ◽  
Art History ◽  
Walter Benjamin ◽  
Original Art ◽  
Art Object ◽  
Object Biography ◽  
Material Record ◽  
Plaster Casts

In 1935, Walter Benjamin introduced the aura as the abstract conceptualization of uniqueness, authenticity, and singularity that encompasses an original art object. With the advent of technological reproducibility, Benjamin posits that the aura of an object deteriorates when the original is reproduced through the manufacture of copies. Employing this concept of the aura, the author outlines the proliferation of plaster casts of sculptures in eighteenth- and nineteenth-century Europe, placing contextual emphasis on the cultural and prestige value of originals and copies. Theories of authenticity in both art history and material culture are used to examine the nature of the aura and to consider how the aura transforms when an original object is lost from the material record. Through an object biography of a fifteenth-century sculpture by Francesco Laurana, the author proposes that the aura does not disappear upon the loss of the original, but is reincarnated in the authentic reproduction.

Fischinger, Oskar (1900–1967)

2018 ◽  
Author(s):  
Richard J. Leskosky
Keyword(s):  
Los Angeles ◽  
Original Art ◽  
The United States ◽  
Orchestral Music ◽  
John Cage ◽  
Special Effects ◽  
Avant Garde ◽  
Visual Music ◽  
Abstract Expressionist ◽  
Short Time

Oskar Fischinger (b. 22 June 1900, Gelnhausen, Germany; d. 31 January, 1967, Los Angeles, US) was one of the most influential German abstract experimental animators and creators of visual music. As a youth he studied draughtsmanship and engineering. In 1922, he invented a machine that photographed sequential slices of wax blocks, producing an abstract film in a relatively short time. In Munich, he continued his experiments in creating visual equivalents to orchestral music while making animated cartoons and multi-projector light shows. In Berlin, he did special effects for Fritz Lang’s Frau im Mond [Woman in the Moon] (1929), helped develop the three colour Gasparcolor process, and made stop-motion commercials. In 1936, Fischinger immigrated to the United States. In 1937 he composed the abstract short An Optical Poem to Liszt’s ‘Hungarian Rhapsody No. 2’ for MGM. He worked nine months on the ‘Toccata and Fugue’ segment of Disney’s Fantasia (1940), but none of his original art appears in the film. He continued making abstract expressionist visual music films until 1947, culminating in his masterwork Motion Painting No. 1. Lack of funding subsequently restricted him to painting; around this time he invented a machine to generate artificial sounds. In 1955 he patented the ‘lumigraph’, which enabled its operator to create silent moving colour compositions. Fischinger influenced a host of avant-garde animators, including Norman McLaren, Jordan Belson, and Len Lye, as well as composer John Cage.

LPDT2 La Plissure du Texte 2

2013 ◽  
pp. 75-90 ◽  
Author(s):  
Elif Ayiter ◽  
Stefan Glasauer ◽  
Max Moswitzer
Keyword(s):  
Deep Level ◽  
Three Dimensional ◽  
Real Life ◽  
Original Art ◽  
Physical World ◽  
Original Art Work ◽  
Art Installation ◽  
Multiple Identity ◽  
The Creation ◽  
Technological Means

This chapter will discuss the artistic processes involved in the creation of the three dimensional, virtual art installation La Plissure du Texte 2, which is the sequel to Roy Ascott’s ground breaking telematically networked art work La Plissure du Texte, created in 1983 and shown in Paris at the Musée de l’Art Moderne de la Ville de Paris during that same year. While the underlying concepts of the original art work, as well as its capability of regenerating itself as an entirely novel manifestation based upon the concepts of distributed authorship, textual mobility, emergent semiosis, multiple identity, and participatory poesis will be underlined, the main focus of the text will be upon the creative strategies as well as the technological means through which the architecture was brought about in the contemporary creative environment of the metaverse. A further topic that will be covered is the challenge of exhibiting what is after all an art work that requires full virtual immersion to bring about a deep level experience and understanding of it, in the physical world, i.e. ‘Real Life’4—in a gallery or museum space in which such a virtual immersion cannot be readily obtained.

The Crip Tarot Card

2021 ◽  
Vol 120 (2) ◽  
pp. 389-391
Author(s):  
Matt Hyunh ◽  
Leah Lakshmi Piepzna-Samarasinha ◽  
curated by Mimi Khúc
Keyword(s):  
Mental Health ◽  
Asian Americans ◽  
Asian American ◽  
Knowledge Production ◽  
American Studies ◽  
Original Art ◽  
Book Arts ◽  
Asian American Studies ◽  
Material Life ◽  
Visual Artist

The Crip is one of thirty cards in the Asian American Tarot, an original deck of tarot cards I curated as part of my hybrid book arts project on mental health, Open in Emergency (first published in 2016 and then in an expanded second edition in 2019/2020). Each card names an archetype that structures the psychic and material life of Asian Americans, and draws upon knowledge production in Asian American studies and Asian American communities to theorize that archetype’s shape and reach. Each features original art and text, a collaboration between a visual artist and a scholar or literary writer. Each ends with guidance, a gentle directive to the reader for what to do now that they have drawn this card in a tarot reading. The Asian American Tarot is art-meets-scholarship-meets-wellness-practice-equals-magic-for-our-times. The Crip is the twenty-sixth card in the major arcana, and it is here welcoming us all on our disability journeys.

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