Co-Mix and Exhibitions: Interview with Art Spiegelman

2020 ◽  
pp. 346-355
Author(s):  
Kim A. Munson
Keyword(s):  
Art History ◽  
Pulitzer Prize ◽  
Art Spiegelman ◽  
Exhibition Strategies

This chapter includes a 2017 interview conducted by art historian Kim A. Munson with Pulitzer prize winning cartoonist Art Spiegelman about his touring retrospective Co-Mix, exhibition strategies, Masters of American Comics, narrative in exhibits relating to Maus and R. Crumb’s Genesis, Hogarth’s Marriage A-la-Mode paintings, the wordless comics of Si Lewen, and the flattening of art history.

scholarly journals Exhibition Strategies for Videogames in Art Institutions: Blank Arcade 2016

2018 ◽  
Vol 4 (2) ◽  
Author(s):  
Emilie M Reed
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Aesthetic Experience ◽  
Game Studies ◽  
Discursive Construction ◽  
Art Object ◽  
History Of ◽  
Cultural Status ◽  
Exhibition Strategies

While debate over videogames’ cultural status can still become contentious, theorist Bruce Altshuler describes the contemporary exhibition form as a route into art history, and exhibitions of videogames and their display choices have already drawn videogames into the discursive construction of the history of art. Therefore, contextualizing past exhibitions of videogames and examining curatorial practices is a vital part of shaping an interdisciplinary history of videogames. This paper summarizes my research and practical work in games curation within this context through a case study of The Blank Arcade 2016,specifically focusing on unexpected ways spectatorship and interaction coexist in videogame exhibitions. By reviewing the process of exhibition organization and the resulting visitor feedback, and finding intersections in game studies and contemporary art perspectives on tensions between spectatorship and interaction, I reflect on the effectiveness of the present curatorial process at addressing the varied ways gallery visitors experience videogames as an art object or aesthetic experience.

Art History as Genetic Epistemology

1985 ◽  
Vol 30 (12) ◽  
pp. 962-964
Author(s):  
Pavel Machotka
Keyword(s):  
Art History ◽  
Genetic Epistemology

Komiksem w historię

2006 ◽  
pp. 385-391
Author(s):  
Katarzyna Bojarska
Keyword(s):  
Art Spiegelman

Tekst "Komiksem w historię" omawia na wybranych przykładach komiksów polskich i zagranicznych artystyczne sposoby reprezentacji wydarzeń historycznych, w tym przede wszystkim Holocaustu. Autorka umieszcza medium komiksowe w kontekście napięcia między kulturą wysoką i niską oraz w kontekście stosowności medium w odniesieniu do powagi "opowieści historycznej". Wśród analizowanych autorów znaleźli się między innymi: Art Spiegelman, Joe Kubert, Krzysztof Gawronkiewicz i Krystian Rosenberg, Jason Lutes, a także Joe Sacco czy Frederik Peeters. Tekst zarysowuje pewne charakterystyczne tropy i wskazuje na różnorodność oraz wagę podejmowanych przez rysowników i scenarzystów zagadnień historycznych i współczesnych.

Resonance in Dhvani Aesthetics and the Deleuzian Logic of Sensation

2018 ◽  
Vol 12 (1) ◽  
pp. 29-44
Author(s):  
Srajana Kaikini
Keyword(s):  
Art History ◽  
Visual Art ◽  
Normative Theory ◽  
Close Reading ◽  
Literary Interpretation ◽  
Sanskrit Poetics ◽  
Comparative Framework ◽  
Time Image

This paper undertakes an intersectional reading of visual art through theories of literary interpretation in Sanskrit poetics in close reading with Deleuze's notions of sensation. The concept of Dhvani – the Indian theory of suggestion which can be translated as resonance, as explored in the Rasa – Dhvani aesthetics offers key insights into understanding the mode in which sensation as discussed by Deleuze operates throughout his reflections on Francis Bacon's and Cézanne's works. The paper constructs a comparative framework to review modern and classical art history, mainly in the medium of painting, through an understanding of the concept of Dhvani, and charts a course of reinterpreting and examining possible points of concurrence and departure with respect to the Deleuzian logic of sensation and his notions of time-image and perception. The author thereby aims to move art interpretation's paradigm towards a non-linguistic sensory paradigm of experience. The focus of the paper is to break the moulds of normative theory-making which guide ideal conditions of ‘understanding art’ and look into alternative modes of experiencing the ‘vocabulary’ of art through trans-disciplinary intersections, in this case the disciplines being those of visual art, literature and phenomenology.

Un/Becoming Claude Cahun: Zigzagging in a Pack

2018 ◽  
Author(s):  
renée c. hoogland
Keyword(s):  
Literary Criticism ◽  
Art History ◽  
Gender Politics ◽  
High Modernism ◽  
Claude Cahun

Considered odd, obscene, a genius nonetheless, at the time she created her best-known works, French photographer and writer Claude Cahun (1894-1950) cuts a particularly unruly figure in literary criticism and art history. Her recalcitrant faux autobiography Aveux non avenus, [Disavowals, or, Cancelled Confessions] (1930), a book of essays and recorded dreams illustrated with photomontages, have encouraged the artist’s association with High Modernism and Surrealism while her photographic self-portraits have been claimed for an affirmative (feminist) gender politics. However, the proliferous and mercurial nature of Cahun’s disavowed confessions and self-stagings defy easy “domestication.” Instead she constructs a continuously shifting configuration of fragments and collages: assemblages of singularities that are always in a multiplicity, in a pack. Escaping dominant forms of expression, Cahun’s work has nothing to do with recognition or imitation, nor does it constitute a relation of representation. The chapter argues instead that Cahun presents us in both her writing and in her photographic work with the successful experience of becoming in the absence of any final term or form. A becoming-animal that moves beyond destruction into the zone of indiscernibility where a work, or, perhaps, an oeuvre comes into view—an oeuvre that nonetheless remains decidedly outlandish.

Google Hangout with Annie Baker, Playwright 1/25/16, 2:33 PM

2016 ◽  
Vol 69 (4) ◽  
pp. 57-64
Author(s):  
Genevieve Yue
Keyword(s):  
New York ◽  
New England ◽  
Selection Process ◽  
Pulitzer Prize ◽  
Film Festival ◽  
The Past

Genevieve Yue interviews playwright Annie Baker, whose Pulitzer Prize–winning play The Flick focuses on the young employees of a single-screen New England movie house. Baker is one of the most critically lauded playwrights to emerge on the New York theater scene in the past ten years, in part due to her uncompromising commitment to experimentation and disruption. Baker intrinsically understands that arriving at something meaningful means taking a new way. Accordingly, Baker did not want to conduct a traditional interview for Film Quarterly. After running into each other at a New York Film Festival screening of Chantal Akerman's No Home Movie (2015)—both overwhelmed by the film—Yue and Baker agreed to begin their conversation by choosing a film neither of them had seen before and watching it together. The selection process itself led to a long discussion, which led to another, and then finally, to the Gmail hangout that forms the basis of the interview.

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