scholarly journals Photo Essay: “Vietnamese Here Contemporary Art and Refections” Art Exhibition, Melbourne, Australia, May 2017

2019 ◽  
Vol 4 (1) ◽  
pp. 133-139
Author(s):  
Anh Nguyen
Keyword(s):  
Contemporary Art ◽  
Performance Art ◽  
Visual Art ◽  
Art Exhibition ◽  
History And Memory ◽  
Art Performance ◽  
Photo Essay

Anh Nguyen was co-curator, with Nadia Rhook, of the “Vietnamese Here Contemporary Art and Refections” exhibition about Vietnamese migrants in Melbourne, Australia, May 4–26, 2017. Phuong Ngo’s work, the basis of this photo essay, was part of the exhibition, which featured visual art, performance art, and readings refecting on Vietnamese heritage, history, and memory in the diaspora. The exhibition was sponsored by the Australian Research Council’s Kathleen Fitzpatrick Laureate Fellowship, of which Anh Nguyen is a researcher.

scholarly journals THE SPACE BETWEEN US

2020 ◽  
Author(s):  
Wilson Yeung Chun Wai ◽  
Estefanía Salas Llopis
Keyword(s):  
Contemporary Art ◽  
Visual Art ◽  
Cultural Exchange ◽  
Art Exhibitions ◽  
Art Exhibition ◽  
New Knowledge ◽  
Collective Innovation ◽  
Collective Creation ◽  
Different Cultures

This article explores how to integrate the collective creation of contemporary art exhibitions, and how to transform exhibition works into contemporary language and novel visual art materials, thereby generating cultural exchange between Australia and Spain. The Space Between Us (2017- ), co-curated by Australian artist-curator Wilson Yeung and Spanish artist Estefanía Salas Llopis, resolve these questions by examining the contemporary art exhibition. This paper also asks how to transform art exhibitions into laboratories, how artists and curators work together in a collective innovation environment, how collective creation generates new knowledge, and how to develop collective creation among creative participants from different cultures and backgrounds. 

Axis: broadening the constituency and extending the sphere of influence of visual art

1998 ◽  
Vol 23 (2) ◽  
pp. 8-11
Author(s):  
Doug Sandle
Keyword(s):  
Visual Culture ◽  
Contemporary Art ◽  
Visual Arts ◽  
Visual Art ◽  
Information Resource ◽  
Text Data ◽  
Widening Access ◽  
Visual Text ◽  
Sphere Of Influence ◽  
National Information

The Axis database is the only national information resource on British artists and craftmakers. It contains visual-text data on over 2,500 contemporary British practitioners and is a rapidly growing source of data for researchers, students, curators, commissioning agents, architects, planners and patrons and purchasers of visual arts. Axis also has an important national role in promoting contemporary art and artists and widening access to visual culture.

scholarly journals Rethinking Social Norms Through Performance Art

2017 ◽  
Vol 1 (2) ◽  
pp. 59-62
Author(s):  
Isabel Elisabeth Winter
Keyword(s):  
Social Norms ◽  
Performance Art ◽  
Social Anthropology ◽  
Art Exhibition ◽  
University Of Vienna ◽  
The University

A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay focuses on the role of performance art in challenging established social norms and the work of the Austrian artist Michael René Sell.

scholarly journals Changes in the themes, aesthetics and functions of public images in Kyiv due to the influence of socio-cultural processes in the society of 1990-2010

2021 ◽  
pp. 183-194
Author(s):  
Mariia Ospishcheva-Pavlyshyn
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
Public Art ◽  
Visual Art ◽  
Rapid Development ◽  
Practical Aspect ◽  
Cultural Processes ◽  
The Impact ◽  
Theoretical Developments

On the back of the rapid development in public art in recent decades, and in particular graffiti and muralism, interest in them has grown significantly among cultural studies scholars, art critics, architects, sociologists, and urban planners. Numerous works that have appeared in the West and in Ukraine are devoted to various aspects of the visual public art existence. This theme continues to be one of the most relevant for contemporary visual art. This article complements the bunch of acquired knowledge with a detailed study of the impact of socio-cultural processes in society on the changes that took place in monumental painting, graffiti and muralism in Kyiv during 1990–2010, i.e. during the most important changes in politics and society in recent decades. The peculiarities of each historical stage of this influence are analysed and outlined in the study, and the theoretical analysis is displayed by the description of the most characteristic works. Most of them are researched in detail. In addition, the process of decline of monumental painting in the late 1980s and early 1990s is analysed, the factors of graffiti flourishing in the 1990s are identified and highlighted, and the origins of the rapid development of muralism after 2004 and especially after 2014 are explored. At each stage, changes in the themes, aesthetics and functions of public images are traced. The definitions, such as muralism and graffiti, are updated in this paper, taking into account changes in art and the latest achievements in its analysis. The manifestations of the national-patriotic themes in the contemporary art of muralism are considered in detail, the classification of art work on this subject is given, the corresponding examples are given. Such concepts as public art, synthesis of arts, monumental painting, graffiti, muralism are attentively aligned. The study of the nature of the socio-cultural processes and visual arts correlations is promising for further scientific and theoretical developments and the practical aspect for better understanding of the specific works

scholarly journals Anticipation, Action and Analysis: A New Methodology for Practice as Research

1969 ◽  
Vol 1 (2) ◽  
Author(s):  
Lee Campbell
Keyword(s):  
Performance Art ◽  
Critical Evaluation ◽  
Physical Body ◽  
Shared Experiences ◽  
Social Nature ◽  
Structural Framework ◽  
Participatory Processes ◽  
The Subject ◽  
Art Performance ◽  
Definition Of

This paper proposes a new methodology for practice-as-research: “Anticipation, Action, and Analysis”. Critical evaluation of my performance artwork Lost for Words functions as the vehicle to describe Anticipation, Action, and Analysis and to theorise, articulate and demonstrate how slapstick can offer useful insights into the operations of the physical body in participative art performance that go beyond abstract theorisation. Scrutinising and examining slapstick’s performativity in relation to the subject of participation (Bourriaud 1998; Bishop 2006) within Performance Art, this paper concentrates discussion on my performance Lost for Words (2011) as a performance that by making use of slapstick as an extreme physical bodily interruptive process, really supports the problems and difficulties involved in participation within Performance Art. My definition of slapstick in this performance relates to undertaking a set of actions which forces participants’ bodies to interrupt how it normally behaves. The paper achieves this by addressing what happens when, as part of the structural framework of the performance, interruptive processes related to bodily incongruity and repetition (Heiser, 2008) are engineered into activities undertaken by participants engaging in physical and bodily processes. Defining the term collectivity as meaning being a member of a group of people with possibly shared experiences, interests and motivations, the paper also amplifies consideration of how the performance can be used to provide useful insights into the importance that collectivity and conviviality (Bourriaud 1998; Clayton 2007) plays within participatory processes. By way of contrast, the paper explores how the anti-social nature of Schadenfreude (Glenn 2003; Miller, 1993; Svendsen 2010 et al.) can also play its part as well as the, as argued, contradictory nature of hospitality (Derrida 2000) in examining how the performer and audience relation can be construed as host/guest.

The Changing Role of Art and Interpretations of Art in Contemporary Societies

2017 ◽  
pp. 1-9
Keyword(s):  
Contemporary Art ◽  
Visual Art ◽  
Modern Art ◽  
Modern Science ◽  
Art Works ◽  
Rule Breaking ◽  
Changing Role

In this chapter the changing role of art and interpretations of art in contemporary societies are discussed. Visual art works are always open to a great diversity of possible interpretations, impressions and opinions. There are also vastly differing opinions and ideas about what art is or should be. What characterizes contemporary art is the idea that it is one of the areas freedom that allow and encourage rule-breaking and visions. In short, it is the refuge of imagination in a society that otherwise is built on modern science, logic and reflexivity. For some that freedom and imagination is too much: modern art may include elements of carnival madness, sophomoric humour, cheap publicity-seeking or hoax – in addition to great art providing deep experiences and/or thoughts to people who cherish the opportunity to feed their souls with art. Viewing art can be a deeply intimate individual process or a social statement, sometimes both of these. However, this book also offers consolation to all art lovers: art itself is globally in no danger of disappearing as a result of any political or commercial pressure.

Performing Arts

2020 ◽  
pp. 151-186
Author(s):  
Ted Nannicelli
Keyword(s):  
Moral Responsibility ◽  
Performance Art ◽  
Performing Arts ◽  
Art Music ◽  
Ethical Dimension ◽  
Bodily Harm ◽  
The Creation ◽  
Art Performance ◽  
Performing Art ◽  
The Relationship

In a discussion of three kinds of performing art—performance art, music, and theatre—this chapter explores three topics: (1) The performer’s moral responsibility to her- or himself. When this topic is broached in the criticism of an artwork, it is often because a performer has done something that raises the question of whether he or she should treat him- or herself in that way—often, but not always, in a way that involves bodily harm. (2) The ethical dimension of the relationship between performers. In cases of collaboration, the creation of such performances necessarily involves an interpersonal dynamic, which, in turn, has an essential ethical dimension. It also considers the additional complication of performances in which audience members contribute to the performance in a sufficiently robust way as to be regarded as co-performers or co-creators. (3) The ethical dimension established by the relationship between the performer(s) and the (non-interactive) audience, rather than performers and other performers.

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