scholarly journals Municipal Creativity: Approaches to Pluralistic Curatorship in the Israeli Art Scene

2021 ◽  
Vol 11 (12) ◽  
Author(s):  
Nava Sevilla-Sadeh
Keyword(s):  
Art Scene

Rewriting the Narrative

2019 ◽  
Vol 96 (4) ◽  
pp. 54-77
Author(s):  
Nicolas G. Rosenthal
Keyword(s):  
Twentieth Century ◽  
Native American ◽  
American Indian ◽  
Modern Society ◽  
Mixed Media ◽  
The State ◽  
Historical Narratives ◽  
Recent Scholarship ◽  
Art Scene ◽  
The 1960S

A vibrant American Indian art scene developed in California from the 1960s to the 1980s, with links to a broader indigenous arts movement. Native American artists working in the state produced and exhibited paintings, prints, sculptures, mixed media, and other art forms that validated and documented their cultures, interpreted their history, asserted their survival, and explored their experiences in modern society. Building on recent scholarship that examines American Indian migration, urbanization, and activism in the twentieth century, this article charts these developments and argues that American Indian artists in California challenged and rewrote dominant historical narratives by foregrounding Native American perspectives in their work.

THE ART SCENE IN TORONTO, MARCH 1979

1979 ◽  
Vol 7 (1/2) ◽  
pp. 4-5
Author(s):  
Mary F. Williamson
Keyword(s):  
Art Scene

Dóra Maurer: Proportions & Timing

KronoScope ◽  
2022 ◽  
Vol 21 (2) ◽  
pp. 132-156
Author(s):  
Carla Gabrí
Keyword(s):  
Social Relationships ◽  
Arm Movements ◽  
Early Time ◽  
Early Motion ◽  
Art Scene ◽  
Letterpress Printing ◽  
16Mm Film ◽  
Motion Studies ◽  
Historical Discourses

Abstract This paper aims at re-evaluating two of Hungarian artist Dóra Mauer’s films, the video work Proportions (1979) and the 16mm film Timing (1973/80). Both films follow a rigid structure. In Proportions, Maurer uses a paper roll to compare her own body measures repeatedly; in Timing, she repeatedly folds a white linen to compare the rhythm of her arm movements. Through her use of paper and the gesture of folding, the two films can be read as references to the very origin of the term format, as coined in early letterpress printing. When the notion of format is understood as a determination of a ratio and, as such, as an indexical reference to given social relationships (Summers, 2003), these films unfold sociocultural and political meanings. The present paper traces this spectrum of meaning through the pointed inclusion of historical discourses surrounding early motion studies, the art scene in socialist Hungary in the 1970s, and early time experiments before the advent of precision clocks.

Creative geographies of Islam: the case of Islamic and traditional visual arts scene in Istanbul

2021 ◽  
pp. 147447402110536
Author(s):  
Hulya Arik
Keyword(s):  
Cultural Politics ◽  
Visual Arts ◽  
Urban Governance ◽  
Middle Eastern ◽  
Creative Industries ◽  
Limited Attention ◽  
The Past ◽  
Art Scene ◽  
Core Concepts ◽  
Early Republican

While research on geographies of creativity have proliferated in the last few years, there has been scant attention to religious cultural and artistic practices, particularly in the context of the Middle East. This research seeks to address such gap with a focus on the Islamic and traditional visual arts scene which has flourished in Istanbul in the past decade and a half along with the rise of political Islam in Turkey. Rendered obsolete through the Western-oriented and secular cultural politics since the early republican era, art forms such as Arabic calligraphy ( hat), miniature ( minyatür), and illumination ( tezhip) have now found currency as ‘authentically Turkish and Islamic’ in an art scene that emerged alongside Islamist politics. This paper examines the trajectory of Islamic and traditional visual arts through the lens of cultural and creative industries starting from the cultural politics of Islamic urban governance through the 1990s and 2000s, and to the emergence of an Islamist-nationalist authoritarianism in the past decade. In doing so, it aims to situate Islamic and traditional visual arts on the map in studies on geographies of creativity, particularly in the Middle Eastern and Islamic context, where limited attention has been paid to cultural and artistic practices. With ethnographic reflections from the field, it highlights the internal dynamics of an art scene and the potential it bears in unsettling the core concepts of Turkish Islamic nationalism from within.

Archaeology of the present. Israeli art after the Al-Aqsa Intifada

2021 ◽  
pp. 173-189
Author(s):  
Ewa Kędziora
Keyword(s):  
Public Opinion ◽  
Terror Attacks ◽  
Works Of Art ◽  
Art Scene ◽  
Second Intifada

The Al-Aqsa Intifada was the second Palestinian uprising that took place in 2000–2005. The dramatic record of the Intifada expressing itself in waves of recurring terror attacks and the construction of the separation wall on the border between Israel and Palestine overturned the Israeli-Palestinian relationship and triggered international public opinion. The article aims to determine how those events influenced the art scene. The study performs an overview of activities and artistic phenomena which occurred from 2000 through 2015 and problematized the events of the Second Intifada in various ways. The author focuses on individual works of art by both Israeli and international artists as well as art events and exhibitions of the leading kind. The analysis shows the extensive impacts of the Intifada on the artistic environment of that time and leads the author to the conclusion of the Intifada’s prevailing role in shaping politically engaged Israeli art at the beginning of 21 century. The dramatic events came up in creating a new aesthetic of the conflict, resulted in expanding a cultural boycott of Israel as well as challenged the position of politically engaged artists of Israel.

From IRL (in-real-life) to URL: Capturing the art biennial amid COVID-19

2021 ◽  
Vol 8 (2-3) ◽  
pp. 291-311
Author(s):  
(Gwen) Kuan-ying Kuo
Keyword(s):  
Real Life ◽  
Art World ◽  
The Public ◽  
Global Pandemic ◽  
International Exhibitions ◽  
Art Scene ◽  
Before And After ◽  
The Face ◽  
The Taiwan Strait ◽  
Potential Shifts

In early 2020, the unforeseen COVID-19 has brought the art world to its knees, particularly the contemporary art scene needs viewers and feedback to survive. Artists require new channels connecting them with their audiences, while artists’ work needs to be seen and appreciated by the public to sustain its value. In the face of social distancing restrictions and limited visitors, however, many international exhibitions are forced to cancel or postponed. With less to no patronage, will the global pandemic bring the end of the art world? As the global pandemic has forced most social and cultural events moving online, the art biennials are no exception. This article examines the art biennial, the Olympics of the art world, to rediscover the meaning of ‘art’ before and after COVID-19. Integrating virtual presentation and digital campaign between the Taipei Biennial and the Shanghai Biennale, the first running art biennials across the Taiwan Strait, this article analyses and presents the art world’s potential shifts in the post-pandemic future.

scholarly journals Death as an Aesthetic Experiment

2020 ◽  
Vol 6 (2) ◽  
pp. 88-104
Author(s):  
Leander Scholz ◽  
◽  
Anatoly Lipov ◽  
Keyword(s):  
The Body ◽  
Self Determination ◽  
Medical Procedure ◽  
The Road ◽  
Western Art ◽  
Art Scene ◽  
Operating Theatres ◽  
Contemporary Artist ◽  
Funeral Homes ◽  
Ethical Requirement

The more intensely a person thinks about the final nature of life, the more he is bound to a moment in life that is limited in time. Death is a very personal and intimate process, which in most cases is not «beautiful». The reality of death in clinics, intensive care units and operating theatres is, by its human nature, cruel. The body at the «end of the road» is captured by funeral homes. Thus, death today is identical to a long path of suffering. The article is dedicated to the author's reflection on a project by the German artist Gregor Schneider, which caused sensation and fierce reaction in Western art circles and beyond the art scene, creating him a reputation as «the most terrible contemporary artist» who has violated «existing» restrictions that cannot be exceeded if we do not want to question our civilization. The artist's vision is to allow a terminally ill person to die as part of an art project that represents a confrontation with death and that can remove the horror of death. As part of the project, the dying person defines everything in advance. Instead of a mass medical procedure of the same type, death, modeled on the artist's skill, Schneider argues, will create humane places for death and contribute to the creation of a space where people can die with dignity, creating personal protection and ensuring the ethical requirement of free will and self-determination.

scholarly journals Global Art Market in the Aftermath of COVID-19: A Case Study on the United Arab Emirates

Arts ◽  
2021 ◽  
Vol 10 (3) ◽  
pp. 59
Author(s):  
Eve Grinstead
Keyword(s):  
United Arab Emirates ◽  
Art Market ◽  
Institutional Structures ◽  
Art Scene ◽  
The 2008 Financial Crisis ◽  
Global Art ◽  
Insight Into ◽  
Rare Instance

How has COVID-19 affected the global art market? This virus interrupted 2020 in unforeseen ways globally, including the cancellation of the most important art events of the year. Through a close chronological study of the Emirati art scene’s response, both in commercial and noncommercial venues, this essay explains how, and why, the UAE’s art scene was able to react quickly and perhaps more effectively than that of other nations, and what that means for its future. Based on fieldwork and press articles, this article posits that the Emirati art scene evolved from being virtually non-existent to a thriving contemporary art hub in a matter of decades because it has always had to adapt to challenges such as nonexistent art infrastructure or the 2008 financial crisis. By studying the UAE, we find examples of exhibitions that quickly moved from being in situ to online, a rare instance of galleries and art auction house collaborating, government and institutional structures stepping up to support artists and galleries, and the renaissance of Art Dubai taking place in person in 2021 after being abruptly cancelled in 2020. This knowledge provides insight into how the global art market is changing to face the consequences of COVID-19.

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