Continuous Weave: Feminist Experimental Filmmaking Genealogies

2021 ◽  
Vol 36 (3) ◽  
pp. 89-103
Author(s):  
Sarah Keller
Keyword(s):  
Experimental Art ◽  
Women's Art ◽  
The Arts

Abstract In the year before her death in 2019, Barbara Hammer gave footage from four incomplete projects as well as funds she had procured from the Wexner Center for the Arts to four fellow filmmakers to use as they wished. Her footage of a Guatemalan marketplace and women weaving was given to Deborah Stratman, whose film Vever (for Barbara) (US, 2019) combines the work of two of her artistic predecessors, Hammer and Maya Deren. Making use of the footage Hammer shot in 1975 as well as passages, images, and sound from Deren's work, Stratman creates a film that underlines several tendencies of feminist experimental art and continues the legacy of all three women's art. Cooperative, collaborative, and productively fragmented, it honors the creative lineage of which it is a part.

scholarly journals Introduction to node "Art and Research"

Artnodes ◽  
2017 ◽  
pp. 2-5
Author(s):  
Irma Vilà i Ã’dena ◽  
Pau Alsina
Keyword(s):  
Peer Review ◽  
Review Process ◽  
Peer Review Process ◽  
Research Groups ◽  
Experimental Art ◽  
Artistic Production ◽  
The Arts ◽  
Topic Issue ◽  
Artistic Research

Focusing on the relations between art and research, this single topic issue was the result of several conversations held over the last few years between members of the CAIRE, the Experimental Art and Research Cluster. Founded by four research groups at the UAB, UB, UPF and UOC together with the HANGAR artistic production and research between in Barcelona, the objective of the CAIRE is precisely to contribute toward artistic research by capitalizing on its specific and unique features. In this respect, taking advantage of the framework offered by the symposium Questioning Aesthetics: Arts Research & Aesthetics, which took place from 20th to 22nd June 2017 at the Palau Virreina in Barcelona, organized by the UAB, the Transdisciplinary Aesthetics Foundation and Banco Sabadell Foundation, we issued an open call for articles that focus on the relation between the Arts and Research, which, after the peer-review process, ended up as this node of the journal Artnodes. Therefore, the first five articles are written by authors who took part at the aforementioned symposium at the time, while the rest of the articles in the single topic issue come from other writers who share their experiences and reflections with us from a range of different perspectives and approaches.

The National Museum of Women in the Arts Library and Research Center

1988 ◽  
Vol 13 (3) ◽  
pp. 10-13
Author(s):  
Krystyna Wasserman
Keyword(s):  
Visual Arts ◽  
Women Artists ◽  
Research Center ◽  
National Museum ◽  
Special Collections ◽  
Women's Art ◽  
Works Of Art ◽  
The Arts ◽  
Private And Public

The National Museum of Women in the Arts was established in Washington in 1981 to make known the achievements of women in the visual arts. Its Library and Research Center plays a central part in the Museum’s essentially educative role, providing information on art by women primarily by means of one of the largest specialised collections of materials on women’s art. This includes extensive archival files and a number of special collections. Ongoing projects include the compilation of a database on women artists, an inventory of works of art by women in private and public collections, and an index to women artists documented in group exhibition catalogues. The activities of the Library and Research Center demonstrate how this and other art libraries can counteract the neglect of women in the arts.

scholarly journals Altering a Fixed Identity: Thinking through Improvisation

2013 ◽  
Vol 8 (2) ◽  
Author(s):  
Anne Douglas
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
Artistic Practice ◽  
Creative Imagination ◽  
Mobile State ◽  
Experimental Art ◽  
The Arts ◽  
Art Practices ◽  
Identity Thinking ◽  
Insight Into

"Replacing artist with player as if adopting an alias is a way of altering a fixed identity. And a changed identity is a principle of mobility, of going from one place to another…" (Kaprow, Essays on the Blurring of Art and Life 125-6) This paper explores an experiment in improvisation in which the practices of music, the visual arts, philosophy, and anthropology come together. Calendar Variations (2010-11) draws different kinds of artists into creative experiences through the use of verbal scores. The score invites participation in a process in which the outcome is indeterminate. The experiment raises a question within the group of artists and participants about the nature of artistic practice itself and whether any single aesthetic approach is more appropriate than another. The experiment frames the following questions: Why do we have/institute improvisation in life? Can art particularly inform those situations in life in which the unscripted and contingent challenge us to rethink in situations in which we may be encountering failure either in what is around us or failure in ourselves to cope? Drawing in particular on Allan Kaprow’s articulation of Experimental Art (Essays), informed by Ingold and Hallam’s construct of improvisation as a metaphor for existence (Creativity and Cultural Improvisation), I propose that the radical questioning of certainty in experimental art practices offers a different insight into improvisation, one that deals with experiences of failure. The paper concludes that sustaining uncertainty about what the arts might be has given rise to two possible understandings of visual art, one based on contemplation, and the other on time and duration. Our creative imagination is challenged by the collisions and complementarities of these different understandings to sustain a perpetually mobile state of creativity, akin to "adopting an alias as a way of altering a fixed identity" (Kaprow, Essays).

Have There Really Been No Great Women Artists?

2020 ◽  
pp. 11-25
Author(s):  
Nadine Atallah
Keyword(s):  
Women Artists ◽  
Early Recognition ◽  
Modern Art ◽  
Institutional Factors ◽  
Male And Female ◽  
Political Issues ◽  
Art Worlds ◽  
Women's Art ◽  
The Arts

This chapter highlights and discusses the historical, ideological and institutional factors which allowed the good integration of women into the Egyptian modern art worlds. The argument draws from Egyptian artist Nazli Madkour’s objection to Linda Nochlin’s famous question ‘Why have there been no great women artists?’, based on the observation that women artists in Egypt benefitted from an early recognition. In an attempt to explain this Egyptian specificity, the chapter defines the rhetoric of authenticity [asala] as a paradigmatic counterpoint to the Western myth of greatness, at a time when Egypt was struggling for decolonisation and moving towards the Nasserist revolution. Serving as a framework for the appreciation of modern art in Egypt, authenticity seems to create a favourable ground for women’s art, while involving differences between male and female artists in the service of the nation. In order to demonstrate how the search for authenticity shaped and framed the work of women artists and its reception, two paintings about and against polygamy painted in the early 1950s by Inji Efflatoun (1925–1989) and Gazbia Sirry (b. 1925) are analysed in their exhibition contexts. This alternate study shows the entanglement of artistic and socio–political issues while acknowledging internal unevenness within Egyptian feminism and its expression in the arts.

Visual Culture

2020 ◽  
Author(s):  
India Lewis
Keyword(s):  
Visual Culture ◽  
Eastern Europe ◽  
Final Section ◽  
The Body ◽  
Black Experience ◽  
Body Culture ◽  
Experimental Art ◽  
The Arts ◽  
Literature Culture ◽  
Contemporary Writing

Abstract This chapter addresses books published in the field of visual culture in 2019 and is divided into three sections: 1. Race and Art; 2. Art and the Body; 3. Art in Eastern Europe The books under review cover a broad range of subjects within their specialities, but reflect general trends in contemporary writing and study in the field of visual culture. The first section looks at two publications that deal with the black experience in art: Darby English’s To Describe a Life: Notes from the Intersection of Art and Race Terror and The Place Is Here, edited by Nick Aikens and Elizabeth Robles. The second section examines books that see art through bodies: Bauhaus Bodies: Gender, Sexuality, and Body Culture in Modernism’s Legendary Art School, edited by Elizabeth Otto and Patrick Rössler; Sculpture, Sexuality and History: Encounters in Literature, Culture and the Arts from the Eighteenth Century to the Present, edited by Jana Funke and Jess Grove; and Queer Difficulty in Art and Poetry: Rethinking the Sexed Body in Verse and Visual Culture, edited by Jongwoo Jeremy Kim and Christopher Reed. The third and final section looks at publications about art and eastern Europe: Marta Filipová’s Modernity, History, and Politics in Czech Art and Klara Kemp-Welch’s Networking the Bloc: Experimental Art in Eastern Europe, 1965–1981.

Electron Microscopy in Molecular Biology

1967 ◽  
Vol 25 ◽  
pp. 2-3
Author(s):  
Cecil E. Hall
Keyword(s):  
Electron Microscopy ◽  
Molecular Biology ◽  
Noise Level ◽  
Molecular Structures ◽  
Material Structure ◽  
The Arts ◽  
Shadow Casting ◽  
Electron Image ◽  
High Degree ◽  
Very High

The visualization of organic macromolecules such as proteins, nucleic acids, viruses and virus components has reached its high degree of effectiveness owing to refinements and reliability of instruments and to the invention of methods for enhancing the structure of these materials within the electron image. The latter techniques have been most important because what can be seen depends upon the molecular and atomic character of the object as modified which is rarely evident in the pristine material. Structure may thus be displayed by the arts of positive and negative staining, shadow casting, replication and other techniques. Enhancement of contrast, which delineates bounds of isolated macromolecules has been effected progressively over the years as illustrated in Figs. 1, 2, 3 and 4 by these methods. We now look to the future wondering what other visions are waiting to be seen. The instrument designers will need to exact from the arts of fabrication the performance that theory has prescribed as well as methods for phase and interference contrast with explorations of the potentialities of very high and very low voltages. Chemistry must play an increasingly important part in future progress by providing specific stain molecules of high visibility, substrates of vanishing “noise” level and means for preservation of molecular structures that usually exist in a solvated condition.

The Ancestral Angle on Aesthetics, Creativity, and the Arts

PsycCRITIQUES ◽  
2007 ◽  
Vol 52 (31) ◽  
Author(s):  
Paul J. Silvia
Keyword(s):  
The Arts
Sign in / Sign up

Export Citation Format

Share Document