scholarly journals On Periodization: What Does "Post-Duchamp" Mean?

2021 ◽  
Vol 19 (42) ◽  
pp. 83-108
Author(s):  
Thierry de Duve
Keyword(s):  
Art History ◽  
Art World ◽  
History Books

When we speak of a post-Duchamp art world, we raise a particularly vexing periodization problem. Marcel Duchamp’s readymades, and the famous/infamous urinal titled Fountain in particular, have signaled that a sea change has occurred in the art world, which was not a change in styles but rather in aesthetic regimes, not a change in art movements but rather in art institutions, a change which, mutatis mutandis, is as radical as the passage from monarchy to republic, yet a change which art history books have not recorded yet, as such. Without addressing it in full, my paper recalls the steps that made me aware of this periodization problem.

Ranking Artists: An Internet-Era Analysis

Leonardo ◽  
2019 ◽  
Vol 52 (2) ◽  
pp. 135-145
Author(s):  
Alan B. Oppenheimer
Keyword(s):  
Art History ◽  
Alternative Methods ◽  
The Internet ◽  
Art World ◽  
Traditional Art ◽  
Ranked List

To provide guidance to the vastly expanded, uncurated art world made available through the Internet, the author developed a methodology for objectively and repeatably rating artists. He then applied that methodology to Western painters in particular, creating a ranked list of the significance of nearly 10,000 of those painters. Analyzing the process, he observed that the Internet not only greatly broadens access to art but also provides the tools needed to curate that access in a meaningful, scientific manner. The analysis also exposes questions about both the methods used and more traditional art history sources, which can be explored through alternative methods.

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.

Art and Communication: A Look to the Art Market

2021 ◽  
Vol 5 (2) ◽  
pp. 47-64
Author(s):  
Adria Harillo Pla
Keyword(s):  
Social Environment ◽  
Art History ◽  
Social System ◽  
Economic Sociology ◽  
Art Market ◽  
Communication Model ◽  
Art World ◽  
Human Group ◽  
The Public ◽  
Pragmatic Knowledge

This text presents a communicative model in the art market as well as its importance compared to the traditional communication model analysed from Art History. To achieve this, we expose the lack of solid criteria when defining what art is. Subsequently, we defend that the Sociology of Language allows us to obtain a referential and pragmatic knowledge of what a community calls art. As we will say, this lan-guage is produced through money, and that is why Economic Sociology plays a key role. Understanding that “art” is something named like this in a social environment with its agents, motivations and mecha-nisms, we defend that the art market - as a small part of the art world - is a tool of great informative value. This is because it allows to see what a human group refers to as “art”. This is possible thanks to the use of a shared code (money). Through money, some agents can express their preferences in that context, acting as senders. The market plays the channel role and, the public acts as the receiver. The preferences shown through money by some agents within that social system gives to the community some referential and pragmatic knowledge while allowing us to allocate that scarce resource named “art”.

Screening the Art World

2022 ◽  
Author(s):  
Temenuga Trifonova
Keyword(s):  
Cultural Capital ◽  
Art History ◽  
Art World ◽  
The Relationship ◽  
Historical Periods

Unlike most studies of the relationship between cinema and art, which privilege questions of medium or institutional specificity and intermediality, Screening the Art World explores the ways in which artists and the art world more generally have been represented in cinema. Contributors address a rarely explored subject -art in cinema, rather than the art of cinema - by considering films across genres, historical periods and national cinemas in order to reflect on cinema’s fluctuating imaginary of ‘art’ and ‘the art world’. The book examines the intersection of art history with history in cinema, cinema’s simultaneous affirmation and denigration of the idea of art as ‘truth’ and what this means for cinema’s understanding of itself, the dominant, often contradictory ways in which artists have been represented on screen, and cinematic representations of the art world’s tenuous position between commercial good and cultural capital.

scholarly journals The E.A.T. Datascape: An Experiment in Digital Social History of Art

2019 ◽  
pp. 110-137
Author(s):  
Christophe Leclercq ◽  
Paul Girard ◽  
Daniele Guido
Keyword(s):  
Social History ◽  
Art History ◽  
Digital Design ◽  
Art World ◽  
Robert Rauschenberg ◽  
Art And Technology ◽  
The Social ◽  
History Of Art ◽  
History Of ◽  
Interdisciplinary Projects

Experiments in Art and Technology (E.A.T.) is an organization co-founded in 1966 by artists Robert Rauschenberg and Robert Whitman, and engineers Billy Klüver and Fred Waldhauer, in order to support collaboration between artists and engineers. The E.A.T. datascape is a digital instrument for analyzing the digitized traces left by its members via many available resources. Its aim is to study as closely as possible the complexity of collaborative interdisciplinary works. The E.A.T. datascape methodology makes it possible, by means of an anthropological action-centred approach, to go beyond the distinction between art history and art sociology and to renew the social history of art by challenging the notion of authorship and by describing the work as constituted by the intersection between heterogeneous trajectories, rather than an object within a context that would influence it, or constitute its environment. In other words, it allows us to reflect on what digital design does, in turn, to the social history of art, and to put forward hypotheses about what a digital social history of art might be or could offer to the study of complex, interdisciplinary projects that are multiplying in the contemporary art world.

Social Smoking and French Fancies: The Dublin Art(s) Club, 1886–98

2020 ◽  
Vol 25 (3) ◽  
pp. 365-380
Author(s):  
Kathryn Milligan
Keyword(s):  
National Identity ◽  
Art History ◽  
Cultural Exchange ◽  
Art World ◽  
Active Engagement ◽  
Cultural Revival ◽  
British Art ◽  
History Of ◽  
The City

Abstract ABSTRACT The Dublin Art(s) Club, which operated in the Irish capital from 1886 to 1898, offers an intriguing case study for modes of artistic networks and cultural exchange between Ireland and Britain in the closing decades of the nineteenth century. Despite this, the history of the Club has been little explored in historiography to date, often confused with other ventures by artists in the city. Examining the rise and fall of the Dublin Art(s) Club, along with its members and activities, this article retrieves its history and posits that it offers an example of an aspect of art in Ireland which was conspicuous for its cosmopolitan outlook and active engagement with the wider British art world, which then spanned across both islands. The history of the Dublin Art(s) Club poses a challenge to the extant scholarship of this period in Irish art history, which to date has been largely understood to be focused on themes of national identity, the cultural revival, and artists who left Ireland to train in Belgium and France. This article posits that by re-engaging with the activities of art clubs and societies, a more complex reading of artistic life in Victorian Dublin can emerge.

Marketing artistic careers: Pablo Picasso as brand manager

2014 ◽  
Vol 48 (1/2) ◽  
pp. 68-88 ◽  
Author(s):  
Albert M. Muñiz Jr ◽  
Toby Norris ◽  
Gary Alan Fine
Keyword(s):  
Art History ◽  
Design Methodology ◽  
Pablo Picasso ◽  
Art World ◽  
Luxury Brands ◽  
Public Identity ◽  
Content Type ◽  
Cultural Complex ◽  
Corporate Brands ◽  
Consummate Skill

Purpose – In recent years, scholars have begun suggesting that marketing can learn a lot from art and art history. This paper aims to build on that work by developing the proposition that successful artists are powerful brands. Design/methodology/approach – Using archival data and biographies, this paper explores the branding acumen of Pablo Picasso. Findings – Picasso maneuvered with consummate skill to assure his position in the art world. By mid-career, he had established his brand so successfully that he had the upper hand over the dealers who represented him, and his work was so sought-after that he could count on selling whatever proportion of it he chose to allow to leave his studio. In order to achieve this level of success, Picasso had to read the culture in which he operated and manage the efforts of a complex system of different intermediaries and stakeholders that was not unlike an organization. Based on an analysis of Picasso's career, the authors assert that in their management of these powerful brands, artists generate a complex, multifaceted public identity that is distinct from a product brand but shares important characteristics with corporate brands, luxury brands and cultural/iconic brands. Originality/value – This research extends prior work by demonstrating that having an implicit understanding of the precepts of branding is not limited to contemporary artists and by connecting the artist to emerging conceptualizations of brands, particularly the nascent literatures on cultural, complex and corporate brands.

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>

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