Epilogue

2019 ◽  
pp. 280-286
Author(s):  
Margaret Dalivalle ◽  
Martin Kemp ◽  
Robert B. Simon
Keyword(s):  
Art World ◽  
The Status ◽  
Point Of Reference

The Epilogue looks at two sustained and focused discussions by cataloguers of Leonardo paintings. The first is by Luke Syson in the London catalogue. The second is in the latest edition of Frank Zöllner‗s monograph, which has become a standard point of reference for information on Leonardo’s painted oeuvre and assessment of the status of each work. The Epilogue concludes that whatever the fate of this painting, the art world should regard itself as privileged to have such a significant painting in its domain.

In The Wake of Okwui Enwezor

2021 ◽  
Vol 2021 (48) ◽  
pp. 14-22
Author(s):  
Natasha Becker
Keyword(s):  
South Africa ◽  
Racial Inequality ◽  
Art World ◽  
African Art ◽  
Trade Routes ◽  
Gender Culture ◽  
Analytical Potential ◽  
Curatorial Practice ◽  
The Status ◽  
Practical Guidelines

This article takes a critical and intimate look at Okwui Enwezor’s work in South Africa during the 1990s and asserts that the international exhibition he curated in Johannesburg in 1997—the Second Johannesburg Biennale, Trade Routes: History and Geography—is an important lens through which to explore Africa’s entangled histories. Trade Routes mattered as much for the discourse it produced as for the artworks it presented. The exhibition checklist features extraordinary works that were made between 1989 and 1997 by artists whose critical acclaim we take for granted today but who were at that time still underappreciated or emerging. Trade Routes not only challenged the status of the existing canon on African art but also proposed a new counter-canon. Additionally, Trade Routes and Enwezor’s concept of the meeting of worlds might have greater analytical potential as a metaphor for the meeting point of two indecipherable South Africas. Under apartheid, Johannesburg was two “countries,” and people lived in two different realities, depending on one’s history, geography, race, ethnicity, class, gender, culture, education, and opportunities. Enwezor constantly confronted the legacy of racism in small and big ways in South Africa. He was at the center of critical debates about race and representation. While there are all kinds of practical guidelines for how to talk about racism within the larger culture, we still do not have one for talking about racial inequality and racism in institutions, exhibition histories, curatorial practice, and the commercial art world. Instead, we have Okwui Enwezor to accompany us on our quest and to remind us to keep consulting both histories and imaginaries, theories and practices, and to continue to interrogate how cycles are reproduced or radically ruptured.

The Eisenstein Effect

2019 ◽  
pp. 57-76
Author(s):  
Anthony Vidler
Keyword(s):  
Le Corbusier ◽  
Two Dimensions ◽  
Sergei Eisenstein ◽  
The Status ◽  
Actual Space ◽  
Modernist Architecture ◽  
Auguste Choisy ◽  
Technological Achievement ◽  
Point Of Reference

This chapter analyzes the confluence in thinking about cinematic and architectural montage in the work of the Russian filmmaker Sergei Eisenstein and the Swiss architect Le Corbusier. It describes their encounter in Moscow in 1928 and their shared admiration for the French architectural historian Auguste Choisy, whose description of spatial passage through the Athenian Acropolis is a key point of reference in the accounts the filmmaker and the architect develop of the role of narrative, movement, and editing in the apprehension of space. Although Le Corbusier’s promenade architecturale is the manipulation of a body moving through actual space according to precise calculations of a visual sequence, the cinematic version, as staged by Corbusier and Chenal, faced the viewer with a surrogate or avatar body moving through space, but never presented the viewer with the scenes viewed by this body: an invisible, one might say ineffable merging of architecture with the image of an invisible architecture as a projection of a static viewer. Architecture in this sense achieves the status desired of the modernist machine universe, but in the process has been reduced to two dimensions, without perspective. Eisenstein, for his part, was in this sense able to “build” an architecture in film—not the imperfect static forms that one had to walk through or work hard to imagine their ecstatic movement, but through the moving image itself understood as the highest technological achievement of modernism, thus achieving the (ecstatic) dissolution, in image, of modernist architecture.

The politics of identity and recognition in the ‘global art world’

2018 ◽  
Author(s):  
Anne Ring Petersen
Keyword(s):  
Cultural Identity ◽  
Identity Politics ◽  
Critical Discourse ◽  
Art World ◽  
Politics Of Identity ◽  
The West ◽  
Western Art ◽  
The Status ◽  
To Come ◽  
Global Art

Questions of cultural identity and the status of non-Western artists in the West have been important to the discourses on the interrelations between contemporary art, migration and globalisation for at least two decades. Chapter 2 considers the connections between the critical discourse on cultural identity, the globalisation of the art world and the adoption of multicultural policies by Western art institutions. It critically engages with the British discourse on ‘New Internationalism’ in the 1990s as well as the wider and more recent discourse on ‘global art’. It is argued that discussions from the last twenty-five years have not only made it clear that institutional multiculturalism is not the answer to the challenge of attaining genuine recognition of non-Western artists in the West, but also revealed that the critical discourse on identity politics has not been able to come up with solutions, either. In fact, it is marred by the same binary thinking and mechanisms of exclusion that it aims to deconstruct. Chapter 2 concludes with two suggestions to how we can get beyond the deadlock of the critical discourse on identity politics.

Zainab Al-Ghazali: Sejarah Kebangkitan Mujahidah Islam di Mesir

2019 ◽  
pp. 46-58
Author(s):  
Ummi Zainab Mohd Ghazali ◽  
Muhammad Azizan Sabjan
Keyword(s):  
Driving Force ◽  
Qualitative Method ◽  
Muslim Women ◽  
Women's Leadership ◽  
Strict Sense ◽  
Islamic History ◽  
The World ◽  
The Status ◽  
Massive Number ◽  
Point Of Reference

Zainab al-Ghazali was one of the utmost female figure fighters in the contemporary Islamic history. She was the founder of Muslim Women Association (MWA) of ‘Jama’at al-Sayyidat al-Muslima’ and the driving force behind Muslimah Akhwat Association. The rallying call of her struggle was to spread Islamic knowledge towards Muslim women, instilling them of their rights and responsibilities, imparting a wave of change on them in line with the teaching of al-Quran and sunnah. This paper intends to discuss her dedication to fight and elevate the status of Muslim women in the field of education, social, politics, as well as economy in Egypt. This research employs qualitative method by analyzing data descriptively. The result showed that her enlightenment had greatly impacted a massive number of women in Egypt to rise up to defend and to fight for their rights. Her personality, bravery, and intellectual have succeeded in uplifting the hierarchy of women in the world of da’wah and Islamic politics and successfully warded off conventional prejudice towards women’s leadership in society. In a strict sense, her battle was truly exemplary and could be used as a point of reference for Muslim women in facing plight in a best manner.

scholarly journals Az 1868-as nemzetiségi törvény és a politikai nemzet koncepciójának utólagos értékelése

2020 ◽  
Vol 3 (2) ◽  
pp. 85-106
Author(s):  
Boldizsár Szentgáli-Tóth ◽  
Anna Gera
Keyword(s):  
Political Community ◽  
The Political ◽  
International Literature ◽  
Academic Literature ◽  
The Core ◽  
National Minorities ◽  
Ex Post ◽  
The Status ◽  
Post Assessment ◽  
Point Of Reference

In our study, we attempt to provide a broad picture about the views of those authors who assessed the nationality concept of Ferenc Deák and József Eötvös, and through this analysis we would clarify how diverse approaches of the same issue might exist within the academic literature. We rely on the main relevant sources drafted under different political regimes: from the dualist period, Béla Grünwald, Lajos Mocsáry, and Oszkár Jászi are highlighted; from the era between the two world wars, Gyula Szekfű, Imre Mikó, and Kálmán Molnár will be cited; while the communist approach would be represented by Erzsébet Fazekas and Gábor Kemény G. Apart from the most influential Hungarian scholars, some authors from the neighbouring countries and the mainstream contemporary international literature on the status of national minorities will be also referred to. The core of our research is not the evaluation of the 1868 Act on nationalities or its application itself but the ex-post assessment of the political nation concept provided by Deák and Eötvös, which was a point of reference for the whole contemporary Hungarian political community and which also determined the logic of the 1868 Act on nationalities.

Robert Morris between art criticism and object making, 1961-66

2021 ◽  
Vol 30 (3) ◽  
pp. 345-360
Author(s):  
Tom Hastings
Keyword(s):  
Case Studies ◽  
Art Criticism ◽  
The Self ◽  
Sufficient Condition ◽  
Art World ◽  
Work Of Art ◽  
Robert Morris ◽  
The Status ◽  
The 1960S ◽  
Original Reading

Robert Morris’s art criticism and object making through the 1960s exemplifies a period concern: the constitution of the self-possessing subject. This article analyses the contours of artistic presence in his practice against the 1960s’ repudiation of expression. As such, it seeks to intervene into historiographical readings of minimalist art that foreground the paradoxical re-emergence of expression through the ‘anti-humanist turn’. In addition, it contributes an original reading of Morris’s lecture-performance, 21.3 (1964). The article features four case studies: the 1990s’ renewal of art historical interest in the 1960s; Morris’s ‘Notes on Sculpture’ essay series and his presentation of the Gestalt; 21.3 and the status of formalist method; and a review of modernist criticism by Mary Kelly conducted in the early 1980s, and, by way of conclusion, a return to the exhibited object. By analysing the work of art through its layered reception, this article approaches art criticism and object making as homologous sites of inquiry. It is finally claimed that Morris’s insistence on ‘control’ may be read as articulating a professional anxiety concerning the need to strategically stage-manage one’s person in the arena of a shifting art world, in which artistic form was no longer a sufficient condition for winning prestige.

Negotiating the Absent

2016 ◽  
Vol 61 (1) ◽  
Author(s):  
Isabel Hufschmidt
Keyword(s):  
Art World ◽  
Present Essay ◽  
The Status ◽  
Art Industry

Bild und Vorstellung von Kultur hängen in hohem Maße davon ab, was wir unter anderem als Kunst wahrnehmen, auswählen und institutionalisieren. Dies ist einer der Bausteine der Konzeption von Kultur. Als anerkannte Ware mit geradezu transzendentalen Fähigkeiten, und damit unvergleichbar und fern von jeglicher anderen Art von Gütern, ist die Kunst erfolgreich darin, eine ganz auf sie ausgerichtete globale Kunstwelt zu bespielen. Das Abwesende zu verhandeln bedeutet in diesem Zusammenhang den Wunsch nach der Inszenierung eines Systems der Verklärung jenseits des Trivialen der Warenwelt, nach der Begegnung mit dem Schöpferischen. Somit sind die Mechanismen der Institutionalisierung innerhalb der Strukturen des Kunstbetriebs, wie wir ihn heute erfahren, das essentielle Vehikel dieser Verhandlungen. Dementsprechend sollen im vorliegenden Essay ebendieses System wie dessen Strukturen der Geltendmachung von künstlerischen Positionen als auch von Diskurs benannt werden, um schließlich den Status des »Schocks« als Thema wie auch soziale Form zu verstehen, wie dieser gleichsam Eingang in die Verhandlungen um »Weihung« im heutigen globalen Kunstbetrieb gefunden hat. <br><br>The image and imagining of culture are highly dependent on what we perceive, choose and institutionalize as art, as one of the building bricks in culture’s conception. As approved commodity with literally transcendent powers, art, thus incomparable and beyond any other kind of good, succeeded in serving an entire, increasingly globalized art world. Negotiating the absent, in this regard, is the wish for and the enactment of a system of transfiguration beyond the trivial of the good, encountering the “tracing” of creation. In this context, mechanisms of institutionalization within the structures of the art industry, as we are facing it nowadays, are the essential vehicle of these negotiations. Hence, in the present essay, that system and its structures of enforcement of artistic positions and discourse shall be denominated in order to comprehend the status of shock as subject and artistic as well as societal form which equally has found entrance to the negotiations of common “consecration” within the by now global “Kunstbetrieb.”

A Questionnaire on Decolonization

October ◽  
2020 ◽  
Vol 174 ◽  
pp. 3-125
Author(s):  
Huey Copeland ◽  
Hal Foster ◽  
David Joselit ◽  
Pamela M. Lee
Keyword(s):  
Twentieth Century ◽  
Contemporary Art ◽  
Postcolonial Theory ◽  
Political History ◽  
The Political ◽  
Art World ◽  
The West ◽  
Art Activism ◽  
History Of ◽  
Point Of Reference

The term decolonize has gained a new life in recent art activism, as a radical challenge to the Eurocentrism of museums (in light of Native, Indigenous, and other epistemological perspectives) as well as in the museum's structural relation to violence (either in its ties to oligarchic trustees or to corporations engaged in the business of war or environmental depredation). In calling forth the mid-twentieth-century period of decolonization as its historical point of reference, the word's emphatic return is rhetorically powerful, and it corresponds to a parallel interest among scholars in a plural field of postcolonial or global modernisms. The exhortation to decolonize, however, is not uncontroversial-some believe it still carries a Eurocentric bias. Indeed, it has been proposed that, for the West, de-imperialization is perhaps even more urgent than decolonization. What does the term decolonize mean to you in your work in activism, criticism, art, and/or scholarship? Why has it come to play such an urgent role in the neoliberal West? How can we link it historically with the political history of decolonization, and how does it work to translate postcolonial theory into a critique of the neocolonial contemporary art world? Respondents include Nana Adusei-Poku, Brook Andrew, Sampada Aranke, Ian Bethell-Bennett, Kader Attia, Andrea Carlson, Elise Y. Chagas, ISUMA, Iftikhar Dadi, Janet Dees, Nitasha Dhillon, Hannah Feldman, Josh T. Franco, David Garneau, Renee Green, Iman Issa, Arnold J. Kemp, Thomas Lax, Nancy Luxon, Nelson Maldonado-Torres, Saloni Mathur, Tiona Nekkia McClodden, Alan Michelson, Partha Mitter, Isabela Muci Barradas, Steven Nelson, Ugochukwu-Smooth C. Nzewi, Alessandro Petti, Paulina Pineda, Christopher Pinney, Elizabeth Povinelli, Ryan Rice, Andrew Ross, Paul Chaat Smith, Nancy Spector, Francoise Verges, Rocio Zambrana, and Joseph R. Zordan.

scholarly journals The Bookplate in the Artistic Culture of Ukraine at the Turn of the 21st Century

2021 ◽  
pp. 122-143
Author(s):  
Julia V. Romanenkova ◽  
Keyword(s):  
International Communication ◽  
Intercultural Dialogue ◽  
Art World ◽  
Work Of Art ◽  
Graphic Art ◽  
The Public ◽  
Art Object ◽  
Professional Interest ◽  
The Status ◽  
Leading Schools

The object of research in this article is the ex-libris sphere of Ukraine in the period from the beginning of the 1990s to the present day. Ukrainian ex-libris actually began to exist in 1991, when it became possible to speak about the Ukrainian bookplate as a phenomenon of art rather than about it as a segment of Soviet graphic art. It has headily changed its character and started a different transformation since the early 1990s. Over the past 20 to 25 years, the Ukrainian bookplate not only has come out of the shadows, turning into a valuable work of art, but also has received several new roles, inheriting the stages of transformation that took place in other countries. If earlier the book plate mainly served as an identifier of the owner, had mainly an informative function and was hidden from the eyes of the public, now it has become not just a work of graphic art, but an art object that, due to its typological diversity and specific artistic qualities, quickly acquired the status of not only an exhibited work of mini-print, but also a collectible. Ex-libris is more often exhibited, it is collected by artists, graphic artists, bibliophiles, and patrons. It has become a kind of an instrument for intercultural dialogue, promoting international communication. The change in the functional charac-teristics of ex-libris, the expansion of the circle of customers, the rapid growth of inter-est in the bookplate, and the increase in demand for it provoked a change in the status of the bookplate among artists themselves. If earlier the book platewas only one of the pages of the creative biography of a number of artists, now there are many masters who specialize in it, who have turned it into the main object of their professional interest. The commercialization of the phenomenon has developed: EL has become a kind of a pass to the international art space for young artists. The Ukrainian cultural field re-ceived its center of popularization of the bookplate as a self-valuable work of art of small-form graphics in 1993, when the Ukrainian ex-libris club was created in Kyiv. In the winter of 1993/94, the first international exhibition Woman in Ex-Libris” was held in the Ukrainian capital. In 1994, the international ex-libris competition Many Reli-gions – God Is One was organized. Since the beginning of the 1990s, there has been a clear tendency to separate several leading schools. The most original, with characteristic stylistic features, schools of the modern Ukrainian bookplate became Lviv, Odessa, Kyiv, Kharkiv. There are also several hotbeds of ex-libris popularization in Ukraine, with great professionals in the field of mini-print, but they are few to speak about inde-pendent schools: Luhansk, Mukachevo, Severodonetsk, Sumy, Chernihiv, Chernivtsi. In today’s art space of the country, the bookplate owes its survival primarily to collec-tors and patrons, and its main, perhaps, the only, way to preserve it in the art world is to transform it into an instrument of intercultural dialogue, integration into the internation-al field, without losing its national identity.

scholarly journals The Emergence of Creative Leaders Within Social Networks: The Case of Andy Warhol in the Art World of New York

2021 ◽  
Vol 12 ◽  
Author(s):  
Marios Samdanis ◽  
Soo Hee Lee
Keyword(s):  
New York ◽  
Social Networks ◽  
Visual Arts ◽  
Conceptual Analysis ◽  
Andy Warhol ◽  
Art World ◽  
Leader Emergence ◽  
Creative Leadership ◽  
The Status ◽  
Conceptual Paper

The creative leadership literature has identified personality traits, skills, states, and behaviours which are effective within creative contexts and organisations, but it is yet to address how creative leaders emerge from social networks. This conceptual paper delineates the processes of creative leader emergence within the context of contemporary visual arts. Using a relational view of creative leader emergence, this paper incorporates the leader emergence processes of achievement and ascription, and then adjusts them to the context of the art world. We argue that both competence and identity contribute to the status construction of creative leaders by enabling their emergence within social networks. In addition to the processes of leader prototypicality through which leaders emerge within groups, we also identify processes of leader atypicality through which creative leaders emerge within network structures. Finally, our conceptual analysis is illustrated by the case of Pop artist Andy Warhol, focusing on his emergence as a creative leader within the art world of New York and his art studio, the factory.

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