scholarly journals Experiencing Everyday Life as a Key to the Women Artists’ World. On Values in the Contemporary Art

2018 ◽  
Vol 23 ◽  
pp. 61
Author(s):  
Agata Sulikowska-Dejena
Keyword(s):  
Everyday Life ◽  
Contemporary Art ◽  
Women Artists

Clive Bell’s "Metaphysical Hypothesis" and Everyday Aesthetics

2021 ◽  
Vol 1 ◽  
pp. 53-60
Author(s):  
Thomas Leddy ◽  
Keyword(s):  
Everyday Life ◽  
Contemporary Art ◽  
Philosophy Of Art ◽  
Social Meaning ◽  
Surface Level ◽  
Everyday Aesthetics ◽  
The Everyday ◽  
Deep Meaning ◽  
Definition Of ◽  
Formal Properties

Clive Bell’s Art, published in 1913, is widely seen as a founding document in contemporary aesthetics. Yet his formalism and his attendant definition of art as “significant form” is widely rejected in contemporary art discourse and in the philosophy of art. In this paper I argue for a reconsideration of his thought in connection with current discussions of “the aesthetics of everyday life.” Although some, notably Allen Carlson, have argued against application of Bell’s formalism to the aesthetics of everyday life, I claim that this is based on an interpretation of the concept that is overly narrow. First, Li Zehou offers an interpretation of “significant form” that allows in sedimented social meaning. Second, Bell himself offers a more complex theory of significant form by way of his “metaphysical hypothesis,” one that stresses perception of significant form outside the realm of art (for example in nature or in everyday life). Bell’s idea that the artist can perceive significant form in nature allows for significant form to not just be the surface-level formal properties of things. It stresses depth, although a different kind than the cognitive scientific depth Carlson wants. This is a depth that is consistent with the anti-dualism of Spinoza, Marx and Dewey. Reinterpreting Bell in this direction, we can say we are moved by certain relations of lines and colors because they direct our minds to the hidden aspect of things, the spiritual side of the material world referred to by Spinoza and developed by Dewey in his concept of experience. Bell hardly “reduces the everyday to a shadow of itself,” as Carlson puts it, since the everyday, as experienced by the artist or the aesthetically astute observer, has, or potentially has, deep meaning. If we reject Bell’s dualism and his downgrading of sensuous experience, we can rework his idea of pure form to refer to an aspect of things detached, yes, from practical use, but not from particularity or sedimented meaning, not purified of all associations.

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.

Mobile Art

2020 ◽  
pp. 369-391
Author(s):  
Larissa Hjorth
Keyword(s):  
Everyday Life ◽  
Contemporary Art ◽  
Art Practice ◽  
Contemporary Culture ◽  
Mobile Media ◽  
Cindy Sherman ◽  
Media Arts ◽  
The Social ◽  
A Site ◽  
The Relationship

This chapter surveys the multiple ways in which mobile media art has been defined by outlining some of the ways in which the field has been defined as it moves from media arts and hybrid reality to a more holistic contemporary art practice. It is then considered how mobile art is heralding ways in which to rethink the relationship between the quotidian, the social, and the politics of data. Finally, the chapter reflects on movements by artists (such as Cindy Sherman) to social mobile media as a site for critique and questioning of contemporary culture and everyday life.

Introduction

2018 ◽  
Author(s):  
Anne Ring Petersen
Keyword(s):  
Literature Review ◽  
Everyday Life ◽  
Contemporary Art ◽  
Aesthetics And Politics ◽  
Art And Politics ◽  
Starting Point ◽  
Art And Culture ◽  
Complicating Factors ◽  
And Migration

The introduction presents the book’s ambition to explore how contemporary art and culture have been, and continue to be, transformed by intensified migration. It takes as its starting point the premise that in an increasingly globalised world, mobility and cultural contacts are both common aspects of everyday life and complicating factors with respect to national, regional, cultural and communal identities. However, such mobility and connectivity also give impetus to processes of globalisation, which this study treats as inextricably linked to migration. Starting with a consideration of contemporary migration and globalisation, and drawing on Jacques Rancière’s and Chantal Mouffe’s theories of the connection between art and politics, the Introduction moves on to the book’s three key concerns – identity and belonging, visibility and recognition, aesthetics and politics. They are introduced and explained by way of an analysis of three works by Danh Vo, Thukral & Tagra and Emily Jacir. Then follows a short literature review and an account of how this book sits within the field described as ‘studies in contemporary art and migration’. After an overview of the book’s chapters, the Introduction accounts for the book’s overall approach.

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.

scholarly journals Artes de Intervenção, Inventar Cidades

ILUMINURAS ◽  
2021 ◽  
Vol 22 (56) ◽  
Author(s):  
Deisimer Gorczevski ◽  
Aline Mourão Albuquerque ◽  
João Miguel Diógenes de Araújo Lima
Keyword(s):  
Everyday Life ◽  
Contemporary Art ◽  
Aesthetic Experiences ◽  
The Arts ◽  
Living Together ◽  
The University ◽  
The City

Habitamos a cidade que nos habita, atravessamos a cidade que nos atravessa. Com interesse sobretudo na resistência pelos afetos e nas micropolíticas acionadas pelo desejo e pelo que nos faz querer viver, partimos em pesquisa-expedição, no encontro da arte contemporânea com a cartografia. Como pesquisar e intervir pode ativar experiências estéticas, com diferentes espaços-tempos da cidade e da universidade? Esta questão norteia as ações realizadas pelo Laboratório Artes e Micropolíticas Urbanas (LAMUR), entre elas: ConversAções na Praia do Vizinho e Micropolítica e Revolução, apresentadas neste trabalho. Movimentar as artes e a universidade com o cotidiano urbano demanda a invenção de modos de fazer-saber. As questões da cidade instigam conversas e encontros com as ruas; revolução, utopia e heterotopias transbordam em imagens que tomam corpo em projeções audiovisuais colaborativas, lambe, fotografia e colagens. As artes de intervenção entrelaçam-se com modos de viver e conviver, impulsionando a potência de processos coletivos e singulares em resistir e inventar cidades. Palavras-chave: Arte contemporânea. Cidade. Micropolíticas. Invenção. Cartografia.  ARTS OF INTERVENTION, INVENTING CITIES Abstract: We inhabit the city that inhabits us, we go through the city that goes through us. Especially interested in resistance through affects, and the micropolitics activated by desire and what makes us want to live, we go on a research-expedition, where contemporary art meets cartography. How to research and intervene as a way to activate aesthetic experiences, with the different times-spaces of the city and the university? This question guides the activities of LAMUR, the Arts and Urban Micropolitics Laboratory (Laboratório Artes e Micropolíticas Urbanas), and among them, ConversAções at the Vizinho Beach, and Micropolitics and Revolution, presented in this work. Moving the arts and the university with urban everyday life demands inventing ways of savoir-faire. The city’s questions instigate conversations and gatherings with the streets; revolution, utopia and heterotopias overflow in images that become collaborative audiovisual projections, wheatpaste, photography and collages. The arts of interventions are entwining with ways of living and living together, propelling the potency of collective and singular processes in resisting and inventing cities.Keywords: Contemporary art. City. Micropolitics. Invention. Cartography.

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