Conclusion

2019 ◽  
pp. 149-167
Author(s):  
Robb Hernández
Keyword(s):  
Art History ◽  
Feminist Art ◽  
Institutional Critique ◽  
Art Practice ◽  
Time And Space ◽  
Book Fair

Galvanized by Terrill’s speculative art practice, This chapter proposes an addition to the archival body/archival space study model in the form of the virtual queer archival laboratory. Taking a page from feminist art history and AIDS art activism’s institutional critique, this study concludes through a virtual shuttling across vignettes and variant strands of time and space, reimagining alternative afterlives for the collections it has surveyed. From a book fair, to a haberdashery, toa colossal pre-Columbian ruin, each site represents speculative encounters through a failed project from the museum’s past: the cast collection. Through the language of the reprint, replica, and revisitation, another engagement with the museum and archive emerges grasping Chicanx art’s queer future through a virtual key.

Personally and Politically: Feminist Art Practice

1979 ◽  
Vol 1 (1) ◽  
pp. 21-35
Author(s):  
Tricia Davis ◽  
Phil Goodall
Keyword(s):  
Feminist Art ◽  
Art Practice ◽  
Feminist Art Practice

ARTlines: three walking artists in Iceland

2017 ◽  
Author(s):  
Patti Lean
Keyword(s):  
Climate Change ◽  
Art History ◽  
Close Contact ◽  
Environmental Concerns ◽  
Art Practice ◽  
Film Maker ◽  
The Sublime ◽  
The Rich

Artist Patti Lean gives an account in this chapter of a walking and camping tour of Iceland in the company of two other artists. The three artists, in sharing the experience of close contact with the sublime landscape of the island, each responded in their own way to produce art work. Lean’s art practice focussed on this compelling landscape, but all three artists also engaged with the rich Icelandic culture and the chapter includes discussion of writer Halldór Laxness, film maker Benedikt Erlingsson and artist Louisa Matthíasdóttir. The challenge for Lean is to reconcile her training in Art History and the associated narrative of the sublime, with the environmental concerns that she met during this tour, for example the failure of breeding for arctic terns as climate change has left too little food in the surrounding sea.

Education for art librarianship in Australia

1994 ◽  
Vol 19 (2) ◽  
pp. 5-6
Author(s):  
Sue Boaden
Keyword(s):  
Art History ◽  
Public Libraries ◽  
Art Practice ◽  
Training And Education ◽  
Post Graduate ◽  
Graduate Degrees ◽  
Related Information ◽  
Electronic Art ◽  
Art Research ◽  
General Community

The growth of art history and art practice courses in Australia has been remarkable over the last 20 years. Unfortunately training for art librarianship has not matched this growth. There are eleven universities in Australia offering graduate degrees and post-graduate diplomas in librarianship but none offer specific courses leading towards a specialisation in art librarianship. ARLIS/ANZ provides opportunities for training and education. Advances in scholarly art research and publishing in Australia, the development of Australian-related electronic art databases, the growth of specialist collections in State and public libraries, and the increased demand by the general community for art-related information, confirm the need for well-developed skills in the management and dissemination of art information.

scholarly journals How images are the making of the Women’s Art Library/Make

2007 ◽  
Vol 32 (1) ◽  
pp. 5-10 ◽  
Author(s):  
Althea Greenan
Keyword(s):  
Women Artists ◽  
Art Criticism ◽  
Gender Politics ◽  
Feminist Art ◽  
Art Practice ◽  
Work In Progress ◽  
The Core ◽  
Women's Art ◽  
Special Collection ◽  
Significant Research

When a group of women artists decided to organise their slides to inspire others to document themselves and raise the visibility of women’s art, they could not have known that several decades later those slides would still be together, forming the core of an internationally significant research resource. How did this idea of gathering together images transform a women’s art group – in the 1980s these were almost as common as book groups are today – into the Women’s Art Library/Make collection? Historically rooted in gender politics and the subsequent emergence of a radicalised women’s art practice and feminist art criticism, WAL/Make is an exciting ‘work in progress’. Now based in Goldsmiths, University of London it is being developed as a key special collection by the Library.

scholarly journals Hanging Out with Cyclists

2016 ◽  
Vol 6 (3) ◽  
pp. 84-88
Author(s):  
Noam Shoked
Keyword(s):  
Los Angeles ◽  
Performance Studies ◽  
Art History ◽  
Architectural History ◽  
Associate Professor ◽  
Field Trips ◽  
University Of California ◽  
Art Practice ◽  
Art Students ◽  
And Performance

In 2014, architecture Professor Margaret Crawford and Associate Professor of Art Practice Anne Walsh taught the first University of California, Berkeley, Global Urban Humanities Initiative research studio course, called “No Cruising: Mobility and Identity in Los Angeles.” What occurred during the course had both varied and unexpected interpretations as ten students majoring in art practice, art history, architecture, and performance studies each selected a dimension of mobility they wished to identify on field trips to LA. One goal of these field trips, or research studios, was to get students out of their comfort zones to explore new approaches and methods. We encouraged students to draw on each others’ disciplines, so art students undertook archival research while architectural history students, like Noam Shoked, used interviews and photography to investigate contemporary conditions. The stories here are from Shoked as he comes to interpret and interact with the cyclist of LA.

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