REDISCOVERING AESTHETICS: TRANSDISCIPLINARY VOICES FROM ART HISTORY, PHILOSOPHY, AND ART PRACTICE BY FRANCIS HALSALL, JULIA JANSEN, AND TONY O'CONNER (EDS)

The Art Book ◽  
2010 ◽  
Vol 17 (1) ◽  
pp. 50-50
Author(s):  
MATTHEW BOWMAN
Keyword(s):  
Art History ◽  
Art Practice

ARTlines: three walking artists in Iceland

2017 ◽  
Author(s):  
Patti Lean
Keyword(s):  
Climate Change ◽  
Art History ◽  
Close Contact ◽  
Environmental Concerns ◽  
Art Practice ◽  
Film Maker ◽  
The Sublime ◽  
The Rich

Artist Patti Lean gives an account in this chapter of a walking and camping tour of Iceland in the company of two other artists. The three artists, in sharing the experience of close contact with the sublime landscape of the island, each responded in their own way to produce art work. Lean’s art practice focussed on this compelling landscape, but all three artists also engaged with the rich Icelandic culture and the chapter includes discussion of writer Halldór Laxness, film maker Benedikt Erlingsson and artist Louisa Matthíasdóttir. The challenge for Lean is to reconcile her training in Art History and the associated narrative of the sublime, with the environmental concerns that she met during this tour, for example the failure of breeding for arctic terns as climate change has left too little food in the surrounding sea.

Education for art librarianship in Australia

1994 ◽  
Vol 19 (2) ◽  
pp. 5-6
Author(s):  
Sue Boaden
Keyword(s):  
Art History ◽  
Public Libraries ◽  
Art Practice ◽  
Training And Education ◽  
Post Graduate ◽  
Graduate Degrees ◽  
Related Information ◽  
Electronic Art ◽  
Art Research ◽  
General Community

The growth of art history and art practice courses in Australia has been remarkable over the last 20 years. Unfortunately training for art librarianship has not matched this growth. There are eleven universities in Australia offering graduate degrees and post-graduate diplomas in librarianship but none offer specific courses leading towards a specialisation in art librarianship. ARLIS/ANZ provides opportunities for training and education. Advances in scholarly art research and publishing in Australia, the development of Australian-related electronic art databases, the growth of specialist collections in State and public libraries, and the increased demand by the general community for art-related information, confirm the need for well-developed skills in the management and dissemination of art information.

scholarly journals Hanging Out with Cyclists

2016 ◽  
Vol 6 (3) ◽  
pp. 84-88
Author(s):  
Noam Shoked
Keyword(s):  
Los Angeles ◽  
Performance Studies ◽  
Art History ◽  
Architectural History ◽  
Associate Professor ◽  
Field Trips ◽  
University Of California ◽  
Art Practice ◽  
Art Students ◽  
And Performance

In 2014, architecture Professor Margaret Crawford and Associate Professor of Art Practice Anne Walsh taught the first University of California, Berkeley, Global Urban Humanities Initiative research studio course, called “No Cruising: Mobility and Identity in Los Angeles.” What occurred during the course had both varied and unexpected interpretations as ten students majoring in art practice, art history, architecture, and performance studies each selected a dimension of mobility they wished to identify on field trips to LA. One goal of these field trips, or research studios, was to get students out of their comfort zones to explore new approaches and methods. We encouraged students to draw on each others’ disciplines, so art students undertook archival research while architectural history students, like Noam Shoked, used interviews and photography to investigate contemporary conditions. The stories here are from Shoked as he comes to interpret and interact with the cyclist of LA.

scholarly journals Contribution to art history: Ornament and its regulations

Sinteze ◽  
2020 ◽  
pp. 79-85
Author(s):  
Tamara Žderić
Keyword(s):  
Visual Culture ◽  
Art History ◽  
Personal Experience ◽  
Fine Art ◽  
Art Practice ◽  
Human Race ◽  
The World ◽  
Long Time ◽  
The Subject ◽  
Complex Forms

The ornament is a part of every visual culture in the world. Its history goes back to early ages of human race. It is one of the most important fine art categories. The ornament was less important fine art category for a long time. The subject of this paper are various types of ornament altogether with personal experience in creating ornaments. The main aim was to reveal basis of ornament, its features and also to put in focus the importance of our attention in art process. Ornament has four categories determined by its appereance. Its complex forms, mathematical approach and lots of details are features I found similar in my art practice (paintings or drawings with various themes). The conclusions derived from comparison of this two various types of ornaments are contribution to examinations of its history through the eye of the artist.

scholarly journals Contemporary Taonga: The Art Works of Brett Graham

2021 ◽  
Author(s):  
◽  
Anna-Marie White
Keyword(s):  
New Zealand ◽  
Contemporary Art ◽  
Art History ◽  
Art World ◽  
Art Practice ◽  
Collaborative Process ◽  
Western Art ◽  
Art Works ◽  
Kaupapa Māori ◽  
The Impact

<p>The production of taonga is a sovereign Māori tradition closely guarded in contemporary Māori society. Many Contemporary Māori Artists observe taonga principles in their work though these qualities are stifled within the New Zealand art system. In the 1990s these subjects were fiercely debated resulting in Contemporary Māori Art being defined differently to the ancestral tradition of taonga. This debate created a rupture, which disturbs the practice of Māori art and is a major concern in the emerging practice of Māori art history. Reviving earlier arguments for Contemporary Māori Art to be defined according to the principles of taonga, this thesis applies the concept of ‘contemporary taonga’ to the art works of Brett Graham (Ngāti Koroki Kahukura), to argue that taonga production is active in contemporary Māori life and offers a new method to reconcile Māori art histories.  The practice of Kaupapa Māori research and theory enlivened the taonga principles of Brett Graham’s art works. Intensive accounts of two art works, produced a decade apart, reveal ‘contemporary taonga’ to be a collaborative process involving recognition and instrumentalisation by authoritative Māori viewers. Kahukura (1996), produced in response to the debates was, however, overwhelmed by competing interests of the time. Āniwaniwa (2006) undertook an arduous journey—to the centre of the Western art world in order to be shown within the artist’s tribal rohe—where Ngāti Koroki Kahukura kaumātua recognised Graham as a tohunga. Iwi leaders also employed Āniwaniwa in their Treaty of Waitangi claims process, functionalising the art work as taonga to support the advancement of their people. Āniwaniwa then left New Zealand to play a role in the formalisation of an international indigenous art network.   As a type for contemporary taonga, Āniwaniwa is an expansive model to introduce this concept to contemporary art discourse. The impact of this concept is yet to be realised though immediately reconciles long-standing issues in Māori art. ‘Contemporary taonga’ has the potential to radically reconcieve, and reorganise, Contemporary Māori Art practice and history according to the practice of ancestral Māori traditions and determined by the authority and agency of Māori people.</p>

scholarly journals John Elder Moultray  (1865-1922)  History Painter or Historical Journalist?

2021 ◽  
Author(s):  
◽  
Marilyn Edwina Park
Keyword(s):  
Nineteenth Century ◽  
New Zealand ◽  
Art History ◽  
Art Practice ◽  
History Painting ◽  
Political Climate ◽  
The Public ◽  
Number Of Factors ◽  
Historical Issues ◽  
History Paintings

<p>This thesis was undertaken to investigate J. Elder Moultray‘s history paintings, his broader artistic oeuvre and journalistic output, and to place him in the context of nineteenth-century New Zealand art, journalism and the history painting genre generally. It is also intended to fill a lack of previous art-historical scholarship surrounding Moultray and his history paintings. Moultray‘s own diaries and published articles, as well as newspaper reports about him, provide a biographical sketch of his life and his own views on art history. A discussion of the development of the history painting genre, a detailed analysis of his history paintings and comments on his paintings from critics, both during his lifetime and after, leads to a number of conclusions. These suggest that Moultray‘s diminished reputation as an artist has resulted from a number of factors, including changing fashions in artistic styles, poor documentation in the referencing of his works, and a changing political climate which has desired to leave behind uncomfortable images of the New Zealand colonial wars. The latter is related to both his contemporary marginalisation and the deterioration of many of his paintings in the public domain. Unpicking the layers of Moultray‘s history paintings reveals their relevance to contemporary art-historical issues. In addition, Moultray‘s resistance to modernism and continuation of a nineteenth-century academic art practice into the twentieth century provides today‘s art historians with considerable insights. By exploring a body of Moultray‘s paintings, in tandem with his writings about art, the thesis reveals a significant contribution to New Zealand art history.</p>

scholarly journals The Slav Avant-garde in Australian Art

2020 ◽  
pp. 37-48
Author(s):  
Zoja Bojić
Keyword(s):  
Art History ◽  
Cultural Memory ◽  
Art Practice ◽  
Avant Garde ◽  
Individual Work ◽  
Short Period

Australian art history includes a peculiar short period during which the European avant-garde values were brought to Australia by a group of Slav artists who gathered in Adelaide in 1950. They were brothers Voitre (1919–1999) and Dušan Marek (1926–1993) from Bohemia, Władysław (1918–1999) and Ludwik Dutkiewicz (1921–2008) from Poland, and Stanislaus (Stanislav, Stan) Rapotec (1911–1997) from Yugoslavia, later joined by Joseph Stanislaus Ostoja-Kotkowski (1922–1994) from Poland. Each of these artists went on to leave their individual mark on the overall Australian art practice. This brief moment of the artists’ working and exhibiting together also enriched their later individual work with the very idea of a common Slav cultural memory.

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