scholarly journals Entre el Delirio y la Ironía: el Joker. Sátira y Cinismo en la Obra de Chema Cobo

2021 ◽  
Vol 9 (2) ◽  
pp. 118
Author(s):  
Fernando Sáez Pradas
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Points Of View ◽  
Alter Ego ◽  
The Relationship

The iconography of the joker, clown, jester, etc. has been very attractive and has been worked from different points of view throughout the art history. From cinema to painting, passing through literature and theatre. The resurgence of this character after the screaming of the Hollywood super production directed by Todd Phillips and interpreted by Joaquin Phoenix has become an excuse to revise the figure from different perspectives, and a way of finding the relationship between this figure and our present. Authors such as Velazquez or even within circus performances have nurtured this character. In this text we want to point out the case of the artist Chema Cobo (Tarifa, 1952), a relevant figure in Spanish Contemporary art since the 70s, and who has been working on this theme since the 80s. Cobo has nurtured his practice from this character, presenting him as the master of ceremonies, becoming his own alter-ego, and one of the pillars of iconography.

scholarly journals Vanitas Obsolescentum An exhibition of images

2021 ◽  
Author(s):  
Lianne Wing Yan Ho
Keyword(s):  
Contemporary Art ◽  
North American ◽  
Art History ◽  
Conceptual Development ◽  
17Th Century ◽  
North American Society ◽  
Dutch Golden Age ◽  
American Society ◽  
Relationship Of ◽  
The Relationship

Vanitas Obsolescentum is a comment on the obsolescence of contemporary commodity. It draws from prominent theories of obsolescence and appropriates 17th century Dutch Vanitas paintings. This paper begins by addressing themes relevant to the conceptual development of the series, including theories of obsolescence as presented by Packard, Papanek and Slade, the relationship of Dutch Golden Age society to contemporary North American society, Dutch Vanitas paintings, and appropriation of the Vanitas genre in contemporary art history and within this series. It provides a rationale for the use of holography as medium to express concepts of transience and hyperreality. This paper concludes with a discussion of the specifics of Vanitas Obsolescentum, including the symbolism and meaning of each piece within the series.

scholarly journals Moscow Conceptualism through Collective and Private Memory. The Archive as an Artistic Self-historicising Practice in Vadim Zakharov

2021 ◽  
Vol 66 (Special Issue) ◽  
pp. 211-232
Author(s):  
Alessandra Franetovich ◽  
◽  
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Important Case ◽  
Moscow Conceptualism ◽  
Global Art ◽  
The Relationship ◽  
Artistic Self ◽  
Archival Practices

"In an era characterised by the growing tension between local and global, the multiple activities acted by the artist Vadim Zakharov offer an important case study to investigate critically the relationship between artists and the art institutions at the time of the Global Art History. Artist, archivist, collector and editor in the frame of Moscow Conceptualism, since the end of the 1970s up to today, Zakharov embodies the figure of the “artist as institution” in the attempt to reach his artistic autonomy. This text introduces to his expansion of the archival attitude typical of Moscow conceptualism, a Soviet unofficial art movement developed in the marginal, underground, and self-referential context in the capital of USSR since the 1970s. Due to its transnationality, Zakharov’s story gives the opportunity to trace parallels, comparisons and differences to what happened next, when he moved in Germany in 1989, after the fall of USSR, and with the appearance of the new labels of “post-Soviet” and “Russian contemporary art”. Within this socio-historical framework, he joined a more cosmopolitan artistic scene, enlarging his archival practices with the aim to self-institutionalize and self-historicize his own artistic practices and the circle of Moscow Conceptualism in an international scene. Keywords: Vadim Zakharov, Moscow Conceptualism, Russian Contemporary Art, Contemporary Art, Global Art History, Archival fever. "

scholarly journals Vanitas Obsolescentum An exhibition of images

2021 ◽  
Author(s):  
Lianne Wing Yan Ho
Keyword(s):  
Contemporary Art ◽  
North American ◽  
Art History ◽  
Conceptual Development ◽  
17Th Century ◽  
North American Society ◽  
Dutch Golden Age ◽  
American Society ◽  
Relationship Of ◽  
The Relationship

Vanitas Obsolescentum is a comment on the obsolescence of contemporary commodity. It draws from prominent theories of obsolescence and appropriates 17th century Dutch Vanitas paintings. This paper begins by addressing themes relevant to the conceptual development of the series, including theories of obsolescence as presented by Packard, Papanek and Slade, the relationship of Dutch Golden Age society to contemporary North American society, Dutch Vanitas paintings, and appropriation of the Vanitas genre in contemporary art history and within this series. It provides a rationale for the use of holography as medium to express concepts of transience and hyperreality. This paper concludes with a discussion of the specifics of Vanitas Obsolescentum, including the symbolism and meaning of each piece within the series.

Concepts “Monumental” and “Miniature” in Art: History and Modernity

2021 ◽  
Vol 66 (1) ◽  
pp. 87-108
Author(s):  
Maryna Varakuta ◽  
Daryna Kupina
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Significant Degree ◽  
Artistic Creativity ◽  
Artistic Creation ◽  
Common Basis ◽  
Creative Achievement ◽  
Different Types ◽  
The Relationship ◽  
Aesthetic Preferences

"The article deals with the issue about the relationship between the notions of “monumental” and “miniature” in various types of art. A very conditional division of these notions is noted. These notions are characteristic of artistic creativity in general and, as a result, determine the genre definitions of creative achievement in each of the types of art. It has been established that the results of this process are directly embodied in the genre system of musical art, which is influenced by the action of general trends and reflects general processes with a significant degree of mediation. It is noted that the manifestation of “monumental” and “miniature” in different types of art is characterized by a common basis, but different ways of embodiment, which are explained by the various systems of artistic creation means. The historical variability of the notions “monumental” and “miniature” is traced in accordance with the change in aesthetic preferences of a particular historical era. The tendency of unification of the notions “monumental” and “miniature” in the system of contemporary art as special concepts, the mixing of which sets out the pluralism of postmodern cultural space (the idea of space in space), is indicated. Keywords: art, monumental, miniature, genre system, means of expression. "

Art, History, and Postwar Fiction

2018 ◽  
Author(s):  
Kevin Brazil
Keyword(s):  
Visual Arts ◽  
Art History ◽  
Visual Art ◽  
New Left ◽  
Doris Lessing ◽  
William Gaddis ◽  
Continuity And Change ◽  
Historical Developments ◽  
The Cold War ◽  
The Relationship

Art, History, and Postwar Fiction explores the ways in which novelists responded to the visual arts from the aftermath of the Second World War up to the present day. If art had long served as a foil to enable novelists to reflect on their craft, this book argues that in the postwar period, novelists turned to the visual arts to develop new ways of conceptualizing the relationship between literature and history. The sense that the novel was becalmed in the end of history was pervasive in the postwar decades. In seeming to bring modernism to a climax whilst repeating its foundational gestures, visual art also raised questions about the relationship between continuity and change in the development of art. In chapters on Samuel Beckett, William Gaddis, John Berger, and W. G. Sebald, and shorter discussions of writers like Doris Lessing, Kathy Acker, and Teju Cole, this book shows that writing about art was often a means of commenting on historical developments of the period: the Cold War, the New Left, the legacy of the Holocaust. Furthermore, it argues that forms of postwar visual art, from abstraction to the readymade, offered novelists ways of thinking about the relationship between form and history that went beyond models of reflection or determination. By doing so, this book also argues that attention to interactions between literature and art can provide critics with new ways to think about the relationship between literature and history beyond reductive oppositions between formalism and historicism, autonomy and context.

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.

The sound structure of verb roots in modern Hebrew

1981 ◽  
Vol 17 (1) ◽  
pp. 11-16 ◽  
Author(s):  
H. Morgenbrod ◽  
E. Serifi
Keyword(s):  
Place Of Articulation ◽  
Compound Matrices ◽  
Sound Structure ◽  
Different Types ◽  
Modern Hebrew ◽  
Points Of View ◽  
Manner Of Articulation ◽  
The Relationship

I. SOUNDS IN MODERN HEBREW Hebrew shorashim – the triliteral roots – have already been analysed from many points of view, for example in Morgenbrod & Serifi (1976, 1977, 1978). The aim of this article is an examination of the sound structure of shorashim.In general we can divide the consonants which form the shorashim into two different types; concerning (a) the manner of articulation (e.g. plosives, nasals, etc.); and (b) the place of articulation (e.g. bilabials, labiodentals, etc.).In this study we have concentrated on position of articulation and ignore manner of articulation.In Figure I the consonants forming the shorashim are related to the different kinds of sounds according to Wendt (1961).In order to investigate the relationship between the sounds it is convenient to establish so-called compound matrices with a computer. All computation was done by a program in COBOL running on the SIEMENS System 4004. As material for our analysis we took 2443 shorashim from the sources Barkaly (1972) and Even-Shoshan (1972).

Who (or What) is an AI Artist?

Leonardo ◽  
2021 ◽  
pp. 1-9
Author(s):  
Kieran Browne
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Art Market ◽  
Art World ◽  
Significant Disagreement ◽  
History And Theory

Abstract The mainstream contemporary art world is suddenly showing interest in “AI art”. While this has enlivened the practice, there remains significant disagreement over who or what actually deserves to be called an “AI artist”. This article examines several claimants to the term and grounds these in art history and theory. It addresses the controversial elevation of some artists over others and accounts for these choices, arguing that the art market alienates AI artists from their work. Finally, it proposes that AI art's interactions with art institutions have not promoted new creative possibilities but have instead reinforced conservative forms and aesthetics.

Alcohol norms and their enforcement: an assessment from a socio-legal perspective

2010 ◽  
pp. 92-112
Author(s):  
Franco Prina
Keyword(s):  
Implementation Process ◽  
Political Agenda ◽  
Social Actors ◽  
Protection Time ◽  
Legal Perspective ◽  
The Social ◽  
Alcoholic Drinks ◽  
Points Of View ◽  
Different Cultures ◽  
The Relationship

The socio-legal perspective on the alcohol legislation, including the norms concerned with the relationship between individuals and alcoholic drinks, helps answering some essentials questions: what was/is the "social construction" of the alcohol problem in different eras and different cultures and, consequently, which objectives are deemed to be worthy of pursuit through the creation or amendment of legislation? Which social actors have the ability, in a given period of time, to inscribe the relevance of innovative alcohol legislation on the political agenda and what kind of dialectic is used among those who champion points of view, competences and above all, different interests? Which interests and values would appear to meet with legislatory protection time after time? What tools, of the ample range available, are chosen to achieve the aims set out? To what extent is legislation implemented (or not implemented), and why? Which aspects of the implementation process prove to be most significant, i.e. define the actual content of the legislation "in force", and are therefore tangibly experienced by the law's end target? How much of an impact does legislation have on behavior which is subject to regulation or on problems which stem from such behavior?

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