The Crown Letter roundtable discussion

2020 ◽  
Vol 9 (2) ◽  
pp. 264-269
Author(s):  
Susan Barnet ◽  
Anne Brunswic ◽  
Michelle Deignan ◽  
Liza Dimbleby ◽  
Ruth Maclennan ◽  
...  
Keyword(s):  
Contemporary Art ◽  
Women Artists ◽  
Global Network ◽  
Roundtable Discussion ◽  
Over Time

Natacha Nisic recognized that the conditions of confinement created by the COVID pandemic and lockdown posed a threat to the visibility, exchange and experience of contemporary art, particularly of the work of women artists. Nisic invited women in her global network to contribute to the project and over time the network has expanded. Over 50 artists have now contributed to the publications and they maintain the online project collectively. As well as weekly publications, since the beginning The Crown Letter has hosted a weekly Salon for its contributors, where the artists exchange experiences, ideas and stories. In these times of confinement, where the effects of systemic inequality are felt across the globe, The Crown Letter harnesses the power of artistic exchange, collective energy, support and dialogue. As it approaches its first anniversary, some of the artists gathered at a salon to reflect on what The Crown Letter means to them.

scholarly journals The Temporality of Contemporaneity and Contemporary Art: Kant, Kentridge and Cave Art as Elective Contemporaries

2021 ◽  
Vol 26 (4) ◽  
pp. 583-602
Author(s):  
Fiona Hughes
Keyword(s):  
Contemporary Art ◽  
Philosophy Of Time ◽  
The Third ◽  
Over Time ◽  
Late Palaeolithic ◽  
Cave Art

AbstractThis article contributes to understanding of Contemporary Art and of the temporality of contemporaneity, along with the philosophy of time more generally. I propose a diachronic contemporaneity over time gaps – elective contemporaneity – through examination of Kant’s Transcendental Aesthetic, the Third Analogy and the concept of ‘following’ among artistic geniuses; diachronic recognition and disjunctive synchronicity discoverable in William Kentridge’s multimedia artworks; as well as non-chronological temporal implications of superimpositions in late Palaeolithic cave art suggesting ‘graphic respect’. Elective contemporaneity shows up complexity in relations to past and present, putting in question definitions of ‘Contemporary Art’ restricted to either chronology or supposedly definitive paradigms.

Art Criticism in the Contracted Field1

2021 ◽  
Author(s):  
Matthew Bowman
Keyword(s):  
Contemporary Art ◽  
Knowledge Production ◽  
Art Criticism ◽  
The Other ◽  
Potential Contribution ◽  
Roundtable Discussion ◽  
Cultural Field ◽  
Intellectual Labor ◽  
Critical Discourses

Abstract Just over a decade-and-a-half ago, a roundtable discussion published in the pages of October worried that the periodic renewal of critical discourses had slowed to a standstill and that art criticism was faced with obsolescence. Such an obsolescence should be understood in a broadly Hegelian manner: the danger is not that art criticism would disappear from the cultural field, but that it will continue—although drained of its previous necessity. Such fears perhaps run the risk of exaggeration, yet this article shall suggest that there seems a sense in which the field of art criticism has contracted in recent years. Self-reflexivity in art and the popularization of “para-curatorial” approaches, for instance, often underpin the artwork discursively before the arrival of art criticism upon the scene. To be sure, such circumstances are viewable positively as interdisciplinary dialogical opportunities, but the negative flipside here is that art criticism’s potential contribution becomes increasingly minimized. From another angle, critics such as Isabelle Graw have contended that the economic-cultural regime of post-Fordism, with its attention on intellectual labor and knowledge production, might actually hold possibilities for the contemporary art critic—but even here, I argue, art criticism becomes contracted, albeit in the other meaning of the word.

scholarly journals Tiempos que encogen: Tiempo, precariedad y encogimiento en las prácticas artísticas contemporáneas

2018 ◽  
Vol 19 ◽  
pp. 35-48
Author(s):  
Marta Labad Arias
Keyword(s):  
Contemporary Art ◽  
Art Practices ◽  
Over Time

El propósito de este ensayo es traer al frente la dimensión temporaldel trabajo creativo precario en el capitalismo posfordista. Para ello propondremos articular las nociones de tiempo, precariedad y encogimiento a partir de una serie de prácticas artísticas contemporáneas. Empezaremos por el encogimiento del tiempoprivado que sufre el trabajador posfordista, desde Nosedive (Black Mirror) a la película In Time, para descubrir a continuación los encogimientos afectivos que provocan las inercias posfordistas en el ensayo visual titulado Dancismo (de Paz Rojo con Emilio Tomé), o en las perfomances, Paralysis y Largo (de Karel van Laere).Articularemos el encogimiento físico que sufren los protagonistasde The Shrinking Man o Downsizing con la vulnerabilidad a la quedeben hacer frente los trabajadores precarios contemporáneos y acabaremos proponiendo un modo alternativo de recuperar el control sobre el tiempo a través de The Procrastinators. In the following essay I would like to suggest to think aboutdifferent ways of linking time, precariousness and shrinkage, departing from some contemporary art practices. I will begin by approaching how posfordist workers are affected by a timeshrinkage, from Black Mirror to In Time. I will continue then to unveil the affective shrinkage provoked by postfordist inertiasthrough the visual essay Dancismo (Paz Rojo with Emilio Tomé), Paralysis or Largo (Karel van Laere). The Shrinking Man oDownsizing, where a physical shrinking takes place, will help us think about the permanent uncertainty and vulnerability aroundprecarious workers. I will end by pointing at The Procrastinatorsas an alternative way of gaining back control over time.

Low-Magnitude Earthquakes at the Eastern Ultraslow-Spreading Gakkel Ridge, Arctic Ocean

2021 ◽  
Author(s):  
Alexey Nikolaevich Morozov ◽  
Natalya V. Vaganova ◽  
Galina N. Antonovskaya ◽  
Vladimir E. Asming ◽  
Irina P. Gabsatarova ◽  
...  
Keyword(s):  
Detection Threshold ◽  
Global Network ◽  
Relative Location ◽  
Gakkel Ridge ◽  
Svalbard Archipelago ◽  
Local Seismicity ◽  
Seismic Stations ◽  
Lower Detection ◽  
Severnaya Zemlya ◽  
Over Time

Abstract Thanks to the new permanent seismic stations installed in the Franz Joseph Land and Severnaya Zemlya arctic archipelagoes, it has become possible at present to record earthquakes occurring in the eastern Gakkel ridge with a much lower detection threshold than that provided by the global network. At present, the lowest recorded magnitude is ML 2.4 and the magnitude of completeness is 3.4. We examined the results of seismic monitoring conducted from December 2016 through January 2020 to show that the earthquake epicenters are not uniformly distributed both in space and over time within the eastern part of the ridge. There were periods of quiescence and seismic activity. Most of the epicenters are confined to the area between 86° and 95.0° E. Relative location techniques were used to locate the single major swarm of earthquakes recorded so far. Most earthquakes were recorded by two or three stations only, so that relative location techniques have been able to yield reliable data for an analysis of the swarm. We showed that there have been actually two swarms that contained different numbers of events. The earthquakes in the larger swarm were occurring nonuniformly over time and clustered at certain depths. The ML scale was calibrated for the Eurasian Arctic based on records of the seismic stations installed in the Svalbard Archipelago, Franz Joseph Land, and on Severnaya Zemlya: −logA0(R)=1.5×logR100+1.0×10−4(R−100)+3.0. The results will help expand our knowledge of the tectonic and magmatic processes occurring within the ultraslow Gakkel ridge, which are reflected in the local seismicity.

Beaten paths towards the transnational corporate elite

2021 ◽  
pp. 026858092110516
Author(s):  
Diliara Valeeva ◽  
Frank W Takes ◽  
Eelke M Heemskerk
Keyword(s):  
Social Structure ◽  
Corporate Control ◽  
Global Network ◽  
Economic Activities ◽  
Driving Mechanisms ◽  
Corporate Elite ◽  
Novel Approach ◽  
The World ◽  
Corporate Elites ◽  
Over Time

The transnationalization of economic activities has fundamentally altered the world. One of the consequences that has intrigued scholars is the formation of a transnational corporate elite. While the literature tends to focus on the topology of the transnational board interlock network, little is known about its driving mechanisms. This article asks the question: what are the trajectories that corporate elites follow in driving the expansion of this network? To answer this, the authors employ a novel approach that models the transnationalization of elites using their board appointment sequences. The findings show that there are six transnationalization trajectories corporate elites follow to expand the network. The authors argue that while the transnational elite network appears as a global social structure, its generating mechanisms are regionally organized. This corroborates earlier findings on the fragmentation of the global network of corporate control, but also provides insights into how this network was shaped over time.

scholarly journals Nigerian women artists’ visibility in twenty-first century contemporary art practices: A triumph against exclusions from art groups and collectives in Nigeria

2021 ◽  
Vol 20 (1) ◽  
pp. 59-67
Author(s):  
Nkiruka Jane Nwafor
Keyword(s):  
Civil War ◽  
Contemporary Art ◽  
Women Artists ◽  
Art History ◽  
First Century ◽  
Nigerian Women ◽  
Post Colonial ◽  
Art Practices ◽  
The 1950S ◽  
Twenty First Century

Nigerian artists began forming art groups and schools from the 1950s and 1960s. These art groups advanced the reclaiming of Nigeria‟s artistic cultural heritages. However, even in the post-colonial and post-Civil War 1970s and 1980s many art groups and art institutions had few or no female members that participated in their activities. This essay reviews notable art groups in Nigeria from the earliest to the more recent. It also identifies the prominent women artists that had contributed to modern Nigerian art history. The essay also looks at the changes in the 1990s‟ and identifies contemporary art and its liberal and individualistic approaches as what caused decline in art groups in the twenty-first century. It will identify the women making impact in Nigeria‟s art scenario in the twenty-first century. The essay argues therefore that the liberalizing nature of twenty-first century contemporary art practices in Nigeria may have endeared more visibility to Nigerian women artists.

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