Albu, Christina. Mirror Affect: Seeing Self, Observing Others in Contemporary Art; Rounthwaite, Adair. Asking the Audience: Participatory Art in 1980s New York.

2017 ◽  
Vol 7 (2) ◽  
pp. 263-265
Author(s):  
Annie Dell'Aria
Keyword(s):  
New York ◽  
Contemporary Art ◽  
Participatory Art

Dwelling with Moving Images

Post-cinema ◽  
2020 ◽  
Author(s):  
Miriam De Rosa
Keyword(s):  
New York ◽  
Contemporary Art ◽  
Point Of View ◽  
Moving Images ◽  
The Relationship

Some filmmakers or artists decide to put art at the heart of their creation, applying not only the relationship between cinema and art to their concept but also to various aspects of the process of creation. Miriam De Rosa addresses this kind of “art contemporary turn” by examining the different incursions of cinema from the point of view of the contemporary art space: “how the contemporary experience of moving images is articulated when it enters art spaces.” The presence of film in this foreign space, transforming it into a different and personalized place, can be observed in recent exhibitions: Sleepwalkers (2007); Marta Minujín’s Mesunda Reloaded (2019) at the New Museum in New York; and Sensitive Environments by the Milan-based collective Studio Azzurro.

Taxidermy as a Cultural Object: Notes on Preservation, Death and Art

2020 ◽  
pp. 59-65
Author(s):  
Montse Morcate
Keyword(s):  
New York ◽  
New York City ◽  
Contemporary Art ◽  
York City ◽  
Academic Research ◽  
Central Element ◽  
Cultural Object ◽  
The Aesthetic ◽  
New Generation

This essay, based on academic research on the representation of death, grief and science, deals with the new resurgence of taxidermy in New York City, where a new generation of artists and artisans explore the aesthetic and ethical limits of this practice. As taxidermy deals with lifeless bodies of animals it becomes a delicate issue for many, in which the central element of debate would be around the legitimacy of using the corpse of an animal and the need for preserving or exhibiting it. Different perspectives of this practice are analysed by means of classical taxidermy, the anthropomorphic style or contemporary art based on taxidermy practises, in order to address questions such as: Is ethical taxidermy possible? Is commemorative taxidermy of a beloved pet acceptable? Why does taxidermy appeal or disgust? Is taxidermy controversial just because it questions the limits of life, death and decay? What is the contribution of the new generation of taxidermists? Keywords: art, death, New York City, preservation, taxidermy

The meaning of doing

2018 ◽  
Vol 36 (2) ◽  
pp. 143-162 ◽  
Author(s):  
Robin A Harper
Keyword(s):  
New York ◽  
New York City ◽  
Reflective Practice ◽  
Public Administration ◽  
Private Information ◽  
York City ◽  
Teaching And Learning ◽  
Participatory Art ◽  
For Profit ◽  
Not For Profit

Governments write us into being by compelling the public to fill in tiny boxes on forms revealing our most private information. These personal details become matters of public record. What if students thought about how writing in public administration shapes us? In the spring of 2015, my Public Administration class joined with New York City Historic Houses Trust and its LatimerNOW project a not-for-profit organization affiliated with the New York City Parks department whose goal is to reimagine the use of historic house museums, Louis Latimer House and Writing On It All (a participatory art not-for-profit exploring space and identity through writing) to learn public administration through participation in a public participatory art project. The immediate goal was for the students to use public administration theory to design, implement, participate and evaluate a one-day project. The hope was to offer a chance to practice on a real project in a safe space so that they could later use the skills once they were employed in public administration (and the stakes were higher). I engaged reflective practice to get them to move from theory to practical application, forcing them to defend and make explicit their administrative choices, thus offering a common vocabulary for critical conversations about the process and the results. In this article, I describe the experience and critically evaluate how reflective practice can add to the teaching and learning of public administration.

The “Global” Contemporary Art Canon and the Case of China

ARTMargins ◽  
2014 ◽  
Vol 3 (3) ◽  
pp. 77-97
Author(s):  
Francesca Dal Lago
Keyword(s):  
New York ◽  
Contemporary Art ◽  
Museum Of Modern Art ◽  
Chinese Art ◽  
American Modernism ◽  
Chinese Contemporary Art ◽  
Primary Documents ◽  
English Speaking ◽  
Academic Painting ◽  
Art Canon

This essay reviews the book Contemporary Chinese Art: Primary Documents edited by Wu Hung and published by the New York Museum of Modern Art in 2010, as part of an ongoing series aiming to introduce art critical texts produced in non-mainstream art locales to an English-speaking audience. Gathering a large number of translated critical essays, the book outlines the production of Chinese Contemporary Art since what is normally accepted as its onset in the late 1970s. This essay argues that this process of definition, legitimized by the prominent publisher of this book, amounts to a form of canonization performed at the expenses of other contemporaneous artistic forms—ink and academic painting—whose culturally and historically specific nature de facto excludes them from a concept of art globalization still largely determined and rooted by Euro-American modernism.

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