Vanishing acts: remembering 5th Passage in Singapore’s contemporary art history (a story about making art public)

World Art ◽  
2020 ◽  
Vol 10 (2-3) ◽  
pp. 323-350
Author(s):  
Michelle Antoinette
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Making Art

scholarly journals Art, Creativity, and the Potential of Artificial Intelligence

Arts ◽  
2019 ◽  
Vol 8 (1) ◽  
pp. 26 ◽  
Author(s):  
Marian Mazzone ◽  
Ahmed Elgammal
Keyword(s):  
Artificial Intelligence ◽  
Computer Science ◽  
Contemporary Art ◽  
21St Century ◽  
Art History ◽  
Large Scale ◽  
Style Analysis ◽  
Art Making ◽  
Making Art

Our essay discusses an AI process developed for making art (AICAN), and the issues AI creativity raises for understanding art and artists in the 21st century. Backed by our training in computer science (Elgammal) and art history (Mazzone), we argue for the consideration of AICAN’s works as art, relate AICAN works to the contemporary art context, and urge a reconsideration of how we might define human and machine creativity. Our work in developing AI processes for art making, style analysis, and detecting large-scale style patterns in art history has led us to carefully consider the history and dynamics of human art-making and to examine how those patterns can be modeled and taught to the machine. We advocate for a connection between machine creativity and art broadly defined as parallel to but not in conflict with human artists and their emotional and social intentions of art making. Rather, we urge a partnership between human and machine creativity when called for, seeing in this collaboration a means to maximize both partners’ creative strengths.

scholarly journals The Persistence of Primitivism: Equivocation in Ernesto Neto’s A Sacred Place and Critical Practice

Arts ◽  
2019 ◽  
Vol 8 (3) ◽  
pp. 111
Author(s):  
Camila Maroja
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Native People ◽  
Amazon Rainforest ◽  
Critical Practice ◽  
Sacred Place ◽  
Art Practices ◽  
Environmental Work ◽  
Global Art ◽  
Venice Biennale

During the 2017 Venice Biennale, the area dubbed the “Pavilion of the Shamans” opened with A Sacred Place, an immersive environmental work created by the Brazilian artist Ernesto Neto in collaboration with the Huni Kuin, a native people of the Amazon rainforest. Despite the co-authorship of the installation, the artwork was dismissed by art critics as engaging in primitivism and colonialism. Borrowing anthropologist Eduardo Viveiros de Castro’s concept of equivocation, this article examines the incorporation of both indigenous and contemporary art practices in A Sacred Place. The text ultimately argues that a more equivocal, open interpretation of the work could lead to a better understanding of the work and a more self-reflexive global art history that can look at and learn from at its own comparative limitations.

Who (or What) is an AI Artist?

Leonardo ◽  
2021 ◽  
pp. 1-9
Author(s):  
Kieran Browne
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Art Market ◽  
Art World ◽  
Significant Disagreement ◽  
History And Theory

Abstract The mainstream contemporary art world is suddenly showing interest in “AI art”. While this has enlivened the practice, there remains significant disagreement over who or what actually deserves to be called an “AI artist”. This article examines several claimants to the term and grounds these in art history and theory. It addresses the controversial elevation of some artists over others and accounts for these choices, arguing that the art market alienates AI artists from their work. Finally, it proposes that AI art's interactions with art institutions have not promoted new creative possibilities but have instead reinforced conservative forms and aesthetics.

scholarly journals Vanitas Obsolescentum An exhibition of images

2021 ◽  
Author(s):  
Lianne Wing Yan Ho
Keyword(s):  
Contemporary Art ◽  
North American ◽  
Art History ◽  
Conceptual Development ◽  
17Th Century ◽  
North American Society ◽  
Dutch Golden Age ◽  
American Society ◽  
Relationship Of ◽  
The Relationship

Vanitas Obsolescentum is a comment on the obsolescence of contemporary commodity. It draws from prominent theories of obsolescence and appropriates 17th century Dutch Vanitas paintings. This paper begins by addressing themes relevant to the conceptual development of the series, including theories of obsolescence as presented by Packard, Papanek and Slade, the relationship of Dutch Golden Age society to contemporary North American society, Dutch Vanitas paintings, and appropriation of the Vanitas genre in contemporary art history and within this series. It provides a rationale for the use of holography as medium to express concepts of transience and hyperreality. This paper concludes with a discussion of the specifics of Vanitas Obsolescentum, including the symbolism and meaning of each piece within the series.

Page as alternative space redux: artists’ magazines in the 21 st century

2013 ◽  
Vol 38 (3) ◽  
pp. 10-17
Author(s):  
David Senior
Keyword(s):  
Digital Media ◽  
Contemporary Art ◽  
Art History ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Art And Design ◽  
The Past ◽  
Production And Distribution ◽  
New Challenges ◽  
Selection Of

In the past few years, several new publications and exhibitions have presented surveys of the genre of artists’ magazines. This recent research has explored the publication histories of individual titles and articulated the significance of this genre within contemporary art history. Millennium magazines was a 2012 exhibition at the Museum of Modern Art that traced the artists’ magazine into the 21st century. The organizers, Rachael Morrison and David Senior of MoMA Library, assembled a selection of 115 international tides published since 2000 for visitors to browse during the run of the exhibition and created a website as a continuing resource for information about the selected tides. The exhibition served as an introduction to the medium for new audiences and a summary of the active community of international artists, designers and publishers that still utilize the format in innovative ways. As these projects experiment with both print and digital media in their production and distribution of content, art libraries are faced with new challenges in digital preservation in order to continue to document experimental publishing practices in contemporary art and design.

The State of Art History: Contemporary Art

2010 ◽  
Vol 92 (4) ◽  
pp. 366-383 ◽  
Author(s):  
Terry Smith
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
The State ◽  
State Of Art

New formats, new roles, new agents: Artists’ publications in Spain since 2000

2013 ◽  
Vol 38 (3) ◽  
pp. 18-29
Author(s):  
Mela Dávila Freire
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Golden Age ◽  
Sources Of Information ◽  
New Agents ◽  
Public And Private ◽  
Art Scene ◽  
The Media ◽  
Spanish Art ◽  
The 1960S

Half a century after the 1960s, commonly considered to have been the period when artists’ publications expanded and consolidated, this genre seems to be experiencing a new ‘golden age’. In recent years, the number of books and printed matter produced by artists has grown exponentially, and so has the interest in them demonstrated by exhibition curators, public and private collectors, and even the media. The contemporary art scene in Spain is not immune to this phenomenon. On the contrary, over the last decade, artists’ publishing has undergone an explosion in quantity, quality and impact with no precedents in Spanish art history. The causes for such an explosion and its main traits are explored here, focusing on a number of significant examples and protagonists. Relevant sources of information documenting its course are offered, both online and in print.

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