Introduction Special Section on Contemporary Art and Religion

2013 ◽  
Vol 17 (1-2) ◽  
pp. 1-19
Author(s):  
Loren Lerner
Keyword(s):  
Contemporary Art ◽  
Special Section ◽  
Art Making ◽  
The Past ◽  
Works Of Art ◽  
Art Practices

Abstract This introduction explores the connections between the worlds of art and religion over the past fifty years. Focusing on the discursive coherence of contemporary art and religion, Lerner examines the attempts to bring some order to a theme that has cyclically and persistently arisen in recent art making. In this overview of critical and curatorial interpretations, crucial areas of inquiry are: the religious and secular paradigms addressed within contemporary art practices; the relationships between works of art and institutional questions; the confrontations of new artistic modes; and the survival of religious symbolic structures.

scholarly journals Parallelotopia: Ottoman transcultural memory assemblages in contemporary art practices from the Middle East

2019 ◽  
Vol 12 (5) ◽  
pp. 493-513
Author(s):  
Gabriel Koureas
Keyword(s):  
Ottoman Empire ◽  
Contemporary Art ◽  
Ethnic Violence ◽  
Late Nineteenth Century ◽  
Ethnic Communities ◽  
The Past ◽  
Art Practices ◽  
Etel Adnan ◽  
Dynamic Exchange

This article engages with the conversations taking place in the photographic space between then and now, memory and photography, and with the symbiosis and ethnic violence between different ethnic communities in the ex-Ottoman Empire. It questions the role of photography and contemporary art in creating possibilities for coexistence within the mosaic formed by the various groups that made up the Ottoman Empire. The essay aims to create parallelotopia, spaces in the present that work in parallel with the past and which enable the dynamic exchange of transcultural memories. Drawing on memory theory, the article shifts these debates forward by adopting the concept of ‘assemblage’. The article concentrates on the aesthetics of photographs produced by Armenian photographic studios in Istanbul during the late nineteenth century and their relationship to the present through the work of contemporary artists Klitsa Antoniou, Joanna Hadjithomas, Khalil Joreige and Etel Adnan as well as photographic exhibitions organised by the Centre for Asia Minor Studies, Athens, Greece.

scholarly journals Re/Presenting Artful Pedagogy: Relational Aesthetics in Early Childhood Contemporary Art Experiences

2017 ◽  
Vol 41 (4) ◽  
pp. 4 ◽  
Author(s):  
Maria Iafelice
Keyword(s):  
Young Children ◽  
Art Education ◽  
Contemporary Art ◽  
Relational Aesthetics ◽  
Art Making ◽  
Young Learners ◽  
Art Practices ◽  
Inquiry Curriculum ◽  
New Directions ◽  
Early Learners

<div class="page" title="Page 1"><div class="section"><div class="layoutArea"><div class="column"><p><span>Young children are experts in creating unpredictable </span><span>projects akin to the work of contemporary artists and within contemporary art practices. The author utilized a hybrid method of a/r/tography and action research to reveal the </span><span>relational moments, specifically conversations, collaborative </span><span>art making, and interactions of early learners. Contemporary </span><span>art, specifically as it relates to relational aesthetics, has the </span><span>potential to blend with pedagogy and point to new directions for art education of young children: an artful pedagogy. Art </span><span>created with a relational aesthetic emphasizes and only exists from participation and interactivity. Within the context of classroom experiences, compelling findings surrounding unpredictable projects and young learners as experts are deeply explored. In particular, implications are brought into focus </span><span>for visualizing conversations with young learners through art. The connections of relational aesthetics in art education to artful pedagogy are revealed through images of conceptual work by young learners and blurry photographs. Interpreting relational aesthetics with a pedagogical lens led to conclusions that point to an elevated view of the art of young children, a view that reveals the possibilities and further questions for art education that is informed by contemporary art. An artful pedagogy suggests that art education catch up with </span><span>contemporary art and reflect the living inquiry, curriculum, </span><span>and art of the educator and young learners. </span></p></div></div></div></div>

scholarly journals artscanada’s "Black" Issue: 1960s Contemporary Art and African Liberation Movements

2012 ◽  
Vol 36 (4) ◽  
Author(s):  
Krys Verrall
Keyword(s):  
African American ◽  
Mass Media ◽  
Contemporary Art ◽  
Black Power ◽  
Racial Politics ◽  
Art Making ◽  
Greenwich Village ◽  
The Arts ◽  
Art Practices ◽  
Subsequent Publication

ABSTRACT In August 1967, as the slogan Black Power burst the confines of African American subcultures and global anti-colonial movements began to circulate prominently within mainstream mass media, seven men from two countries met via a transnational telephone connection to talk about the colour black. Their conversation, and its subsequent publication in the arts journal artscanada’s October 1967 issue titled “Black,” provides this article’s focus. While the thematic issue indexes a rare intersection between elite art and racial politics, and while it is unlikely that any of these representatives of innovative contemporary art practices intimate with the radical countercultures of Greenwich Village and Yorkville saw any cloying taint of bigotry compromise their views about art and art-making, the issue nonetheless enforces covert racism sustained by ideologies of Whiteness. The result is that rather than embracing creative expression associated with black, Black-as-race is construed as alien to contemporary art’s mise-en-scène.RÉSUMÉ En août 1967, quand le slogan « Black Power » se fait entendre au-delà des subcultures afro-américaines et les principaux médias commencent à couvrir les mouvements anti-impérialistes mondiaux, sept hommes vivant dans deux pays, par l’intermédiaire d’un lien téléphonique interurbain, ont eu une échange sur la couleur noire. Cet article porte sur cette conversation et sa publication ultérieure en octobre 1967 dans un numéro de la revue artscanada intitulé « Black ». Ce numéro thématique est l’occasion d’une rare intersection entre l’art d’élite et la politique raciale. Il est peu probable que ces représentants de pratiques innovatrices d’art contemporain, avec leur connaissance intime des contrecultures radicales de Greenwich Village et de Yorkville, aient été conscients d’avoir exprimé des préjugés à l’égard de l’art et de la création artistique. Pourtant, le numéro comporte des exemples de racisme implicite soutenu par une idéologie favorisant la blancheur. En conséquence, plutôt que de reconnaître l’expression créative associée à ce qui est noir, les interlocuteurs traitent le noir en tant que race étrangère par rapport à l’art contemporain.

scholarly journals Presentism, Public History and Contemporary Russian Art

2020 ◽  
Author(s):  
Galina Yankovskaya
Keyword(s):  
Public Space ◽  
Contemporary Art ◽  
Public History ◽  
Expert Knowledge ◽  
Participatory Culture ◽  
Important Place ◽  
Russian Art ◽  
The Past ◽  
Art Practices ◽  
History Of

The article examines typical features of images and themes of the past as they appear in contemporary Russian art, within the context of the presentist regime of historicism and as a part of public history. This research focuses on the works by Mikhail Pavlyukevich and Olga Subbotina, as well as Chaim Sokol, all of them the artists for whom image of the present is determined by the experience of the past as an incomplete process. The analysis focuses on the factors that ground this important place that the past occupies within the space of contemporary art practices. The article explores intersections between history in public space and contemporary art. The author argues that the development of public history rooted in participatory culture, as well as de-monopolisation of expert knowledge and non-academic languages constituting the discourse on the past, shares similarities with many characteristics of contemporary art practices. In these practices the public actively participates in the artistic processes, an artist loses their status as a demiurge, while site-specific character of artistic projects necessarily rests upon the exlporation of the history of place and the immersion in memory. A palimpsest, in which inseparable interpenetrating layers of the past appear through one another, becomes a metaphor both of public history and of one of the trends in contemporary art. Keywords: presentism, public history, contemporary art, Mikhail Pavlyukevich, Olga Subbotina, Chaim Sokol

Screening Statues

2017 ◽  
Author(s):  
Steven Jacobs ◽  
Susan Felleman ◽  
Vito Adriaensens ◽  
Lisa Colpaert
Keyword(s):  
Contemporary Art ◽  
Three Dimensional ◽  
Interdisciplinary Approach ◽  
Film History ◽  
Two Dimensional ◽  
Artistic Practice ◽  
Experimental Art ◽  
Broad Scope ◽  
Art Practices ◽  
Extensive Reference

Sculpture is an artistic practice that involves material, three-dimensional, and generally static objects, whereas cinema produces immaterial, two-dimensional, kinetic images. These differences are the basis for a range of magical, mystical and phenomenological interactions between the two media. Sculptures are literally brought to life on the silver screen, while living people are turned into, or trapped inside, statuary. Sculpture motivates cinematic movement and film makes manifest the durational properties of sculptural space. This book will examine key sculptural motifs and cinematic sculpture in film history through seven chapters and an extensive reference gallery, dealing with the transformation skills of "cinemagician" Georges Méliès, the experimental art documentaries of Carl Theodor Dreyer and Henri Alekan, the statuary metaphors of modernist cinema, the mythological living statues of the peplum genre, and contemporary art practices in which film—as material and apparatus—is used as sculptural medium. The book’s broad scope and interdisciplinary approach is sure to interest scholars, amateurs and students alike.

The Scientific Value Of Research On Mirmukhsin Fikriy

2020 ◽  
Vol 2 (08) ◽  
pp. 583-589
Author(s):  
Umriniso Rahmatovna Turaeva
Keyword(s):  
Political Environment ◽  
Continuous Development ◽  
The Past ◽  
Works Of Art ◽  
Literary Heritage ◽  
History Of ◽  
The Creation ◽  
Scientific Value

The history of the Turkestan Jadid movement and the study of Jadid literature show that it has not been easy to study this subject. The socio-political environment of the time led to the blind reduction of the history of continuous development of Uzbek literature, artificial reduction of the literary heritage of the past on the basis of dogmatic thinking, neglect of the study of works of art and literary figures. As a result, the creation of literary figures of a certain period, no matter how important, remained unexplored.

Touching the Past to Remember the Past

2020 ◽  
Vol 8 (4) ◽  
pp. 389-397
Author(s):  
Meghan J. Dudley ◽  
Jenna Domeischel
Keyword(s):  
Social Memory ◽  
Special Section ◽  
Daily Basis ◽  
Public Archaeology ◽  
Human Condition ◽  
The Other ◽  
Archaeological Theory ◽  
The Public ◽  
The Past ◽  
Introductory Article

ABSTRACTAlthough we, as archaeologists, recognize the value in teaching nonprofessionals about our discipline and the knowledge it generates about the human condition, there are few of these specialists compared to the number of archaeologists practicing today. In this introductory article to the special section titled “Touching the Past to Learn the Past,” we suggest that, because of our unique training as anthropologists and archaeologists, each of us has the potential to contribute to public archaeology education. By remembering our archaeological theory, such as social memory, we can use the artifacts we engage with on a daily basis to bridge the disconnect between what the public hopes to gain from our interactions and what we want to teach them. In this article, we outline our perspective and present an overview of the other three articles in this section that apply this approach in their educational endeavors.

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.

(Re)storying Japanese Canadian Histories: Artistic Engagements

2021 ◽  
pp. 153270862098726
Author(s):  
Matthew Chin ◽  
Izumi Sakamoto ◽  
Jane Ku ◽  
Ai Yamamoto
Keyword(s):  
Identity Formation ◽  
Meaning Making ◽  
Art Making ◽  
History Writing ◽  
The Past ◽  
Common Structure ◽  
Academic History ◽  
Historical Accounts ◽  
Japanese Canadian ◽  
Cultural Identity Formation

This paper examines how Japanese Canadian (JC) artists challenge discursive limitations of constructing representations of JC pasts. Their interventions into JC history-making are significant given the rise of interest in and proliferation of JC historical accounts, partly as a result of the accelerated passing of the remaining survivors of JC incarceration within a broader context of unsettled and unsettling discourses around incarceration in JC families and communities. Contrary to narratives of JC history premised on the conventions of academic history writing, we explore how JC artists engage with the past through their creative practices. Focusing on JC artist Emma Nishimura’s exhibit, The weight of what cannot be remembered, we suggest that JC creative history-making practices have important implications for processes of ethno-racial and-cultural identity formation. In so doing, we decenter state-bound history-making processes that reproduce colonial frameworks of JC subjectivity, temporal linearity, and “objectivity.” Instead, we focus on the temporally circuitous way that Nishimura and other JC artists engage with the past through the idiom of personal intimacy in ways that facilitate a more expansive notion of JC identity and community. Though Nishimura’s work is indexical as opposed to representative of contemporary JC art-making, it is significant in tapping into a common structure of feeling among JC artists that emphasizes a notion of JC’ness rooted in the active struggle to establish a relationship with the past. In attending to Nishimura’s work, we highlight the productivity of art-making as a method of (re)storying to expand meaning-making endeavors within and across communities.

Editorial

2006 ◽  
Vol 5 (1) ◽  
Author(s):  
Chris Roseveare
Keyword(s):  
Psoas Abscess ◽  
Special Section ◽  
Hospital Medicine ◽  
Regular Feature ◽  
Acute Medicine ◽  
The Past ◽  
Hospital Referral ◽  
Working Practices ◽  
The Impact ◽  
Rule Out

Few will deny that the past 6 months have been particularly challenging for all clinicians working in hospital medicine. The pressures of ward closures, which many acute hospitals have faced recently, have undoubtedly increased the ‘bottle-neck’ effect at the front door. Any ‘slack’ which might have existed in the past has now disappeared – 82% occupancy, which was once touted as the Holy Grail of bed-crisis prevention now seems a forlorn hope. One of the Government’s solutions is that chronic disease will be managed without admission to hospital. In reality, this will require dramatic changes in the attitudes of patients, carers and general practitioners and will not happen quickly. The impact of any pre-emptive reduction in capacity will be felt long before any such changes take effect. In the meantime it will up to those of us working in the AMU to ‘sort-out’ and ‘turf-out’, where appropriate. Looking on the bright side, at least when the next round of consultant redundancies is announced we should have little difficulty in justifying our existence…. The request to ‘rule-out serious pathology’ is a frequent justification for hospital referral. When the problem is that of a sudden onset of headache the need to rule-out subarachnoid haemorrhage becomes paramount. Most readers will not make the mistake I made once as an SHO, in assuming that negative CT brain scanning is adequate in this context. However, CSF analysis is not always straightforward. Stephen Hill and Ashwin Pinto’s excellent review of this subject will help unravel some of the complexities in this area. Hopefully the reviews of the acute management of chronic liver disease, psoas abscess and sickle cell disease will also be helpful in your day-to-day working practices. I would also draw your attention to the postcard, which Dr Snape has kindly submitted from a collection donated to him by a patient. Referring to the 1918 Avian Inf luenza outbreak the postcard’s author provides a chilling reminder of the impact of this pandemic. If ‘rule-out avian ‘f lu’ becomes a reason for referral to hospital in the future, we will hopefully be well prepared. Finally in a slight change to the previous format there is now a special section of the journal relating to the Society for Acute Medicine. I am aware that a large proportion of readers are members of the society and this needs to be ref lected in the journal’s content. The ‘Society Pages’ will become a regular feature in the journal, hopefully providing readers with useful information and updates on developments within Acute Medicine. In this edition I have included the abstracts from the Free Paper session at the recent meeting in Hull, along with a summary of the meeting and programme for the next meeting in the Royal College of Physicians. Submissions for this section could include summaries of working practices within different acute medicine units around the country, as well as experiences of trainees undertaking the new acute medicine training programmes. All would be gratefully received.

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