Contemporary Artists Respond to the Baby Dolls

Walking Raddy ◽  
2018 ◽  
pp. 285-314
Keyword(s):  
Contemporary Artists

Mutable Views

2019 ◽  
pp. 52-70
Author(s):  
Johanne Sloan
Keyword(s):  
Visual Culture ◽  
Collective Memory ◽  
Visual Arts ◽  
Visual Art ◽  
Natural World ◽  
Landscape Art ◽  
Experimental Films ◽  
Contemporary Artists

This chapter addresses the contemporary renewal of landscape art in Canada, arising at the intersection of visual art and cinema. Artworks, installations, and experimental films are discussed according to four categories: figure/ground, spatial illusions, the historicity of landscape, and digital scenery. Landscape—as a distinct art historical genre, conventional cinematic background, and ideological ground—has historically played a key role in Canadian visual culture. The contemporary artists and filmmakers in question have remade landscape in pictorial terms by remixing legacies from the visual arts and cinema and also in political terms, by calling attention to the damaged natural world of the Anthropocene, confronting Indigenous claims to the land, and foregrounding struggles over nationhood, identity, and collective memory.

scholarly journals Michael O’Brien’s Theological Aesthetics

Religions ◽  
2021 ◽  
Vol 12 (6) ◽  
pp. 451
Author(s):  
Rebekah Lamb
Keyword(s):  
Primary Source ◽  
Theory And Practice ◽  
Theological Aesthetics ◽  
Art Practice ◽  
Devotional Art ◽  
The Arts ◽  
New Directions ◽  
Extensive Collection ◽  
The Relationship ◽  
Contemporary Artists

This essay introduces and examines aspects of the theological aesthetics of contemporary Canadian artist, Michael D. O’Brien (1948–). It also considers how his philosophy of the arts informs understandings of the Catholic imagination. In so doing, it focuses on his view that prayer is the primary source of imaginative expression, allowing the artist to operate from a position of humble receptivity to the transcendent. O’Brien studies is a nascent field, owing much of its development in recent years to the pioneering work of Clemens Cavallin. Apart from Cavallin, few scholars have focused on O’Brien’s extensive collection of paintings (principally because the first catalogue of his art was only published in 2019). Instead, they have worked on his prodigious output of novels and essays. In prioritising O’Brien’s paintings, this study will assess the relationship between his theological reflections on the Catholic imagination and art practice. By focusing on the interface between theory and practice in O’Brien’s art, this article shows that conversations about the philosophy of the Catholic imagination benefit from attending to the inner standing points of contemporary artists who see in the arts a place where faith and praxis meet. In certain instances, I will include images of O’Brien’s devotional art to further illustrate his contemplative, Christ-centred approach to aesthetics. Overall, this study offers new directions in O’Brien studies and scholarship on the philosophy of the Catholic imagination.

Reflections

2021 ◽  
Vol 33 (4) ◽  
pp. 557-576
Author(s):  
Laura Engel
Keyword(s):  
Eighteenth Century ◽  
Black Women ◽  
Subject Matter ◽  
History Of ◽  
Visual History ◽  
Contemporary Artists

Contemporary artists Elizabeth Colomba and Fabiola Jean-Louis employ eighteenth-century subject matter, iconography, and media to reimagine the visual history of Black women. Putting Colomba’s and Jean-Louis’s work in dialogue with my own, I return to the premises of my book Women, Performance, and the Material of Memory: The Archival Tourist (2019), to re-examine, interrogate, and acknowledge my position as a white scholar.

ՀԱՖԵԶԻ ԲԱՆԱՍՏԵՂԾԱԿԱՆ ԱՇԽԱՐՀԻ ԱՐՏԱՑՈԼՈՒՄՆ ԱՅԴԻՆ ԱՂԴԱՇԼՈՒԻ ՆԿԱՐՆԵՐՈՒՄ

2021 ◽  
pp. 216-225
Author(s):  
Zahra Мaleqi (IRI, Shiraz)
Keyword(s):  
Visual Arts ◽  
Persian Poetry ◽  
Contemporary Artists

Classical Persian poetry, when embodied in the oeuvre of the contemporary artists of Iran, was becoming for some a major source of artistic inspiration. The article analyzes the inner creative bond between classical Persian poets and present-day artists, exemplified by Hafez and the modern Iranian painter Aydin Aghdashloo, whose all canvases stem from poetry, and the best of them are considered among the most valued achievements of visual arts. Hafez’s verses were conducive to introducing surrealist style to Iranian portrait and miniature by the painter Aydin Aghdashloo, who has created thereby a new style of "crumpled miniature".

Lost and found in translation: Intermittent Aphasia

2020 ◽  
Vol 6 (1) ◽  
pp. 73-86 ◽  
Author(s):  
Xiaolong Fang
Keyword(s):  
Cultural Identities ◽  
Research Practice ◽  
Art Practice ◽  
The West ◽  
New Meanings ◽  
Lost And Found ◽  
Xu Bing ◽  
Lost In Translation ◽  
Artistic Research ◽  
Contemporary Artists

This article explores gaps in communication and mistranslations between languages and cultural identities. My article centres on my artistic research practice, alongside Chinese contemporary artists, Xu Bing and Ai Weiwei, who brought their own culture to bear on the experience of living and making work in the West. When facing the clash of cultural and linguistic environments, the work featured seeks to find a balance between inclusive and exclusive language systems. What seems to be ‘lost’ in translation can be used creatively in art practice, through hybridized forms and often through humour, to ‘find’ new meanings for myself, and hopefully for the audiences of my work.

scholarly journals Car Flirting and Morality Cruising: Neurotic Gazes and Paranoid Glances in Contemporary Iranian Art

1970 ◽  
pp. 27-38
Author(s):  
Sara Mameni
Keyword(s):  
Public Sphere ◽  
Contemporary Art ◽  
Iranian Art ◽  
The Continuum ◽  
Contemporary Artists

Iran’s public sphere has been segregated along gender lines since the Islamic Revolutionin 1979 and is regularly policed by the Ministry of Culture and Islamic Guidance. Thisarticle considers the ways in which the resulting homosocial spaces appear in the worksof contemporary artists working in Tehran. Looking at video and photographic worksby three Iranian artists, I argue that contemporary art is hyper aware of being undersurveillance and addresses itself to multiple viewers. I bring queer viewing strategiesas a method of viewing these artworks in order to point to the continuum betweenhomosocial and homoerotic spaces that permeate contemporary Iranian art.

‘Playing the Chinese card’: Globalization and the aesthetic strategies of Chinese contemporary artists

2015 ◽  
Vol 20 (6) ◽  
pp. 567-584 ◽  
Author(s):  
Lin Zhang ◽  
Taj Frazier
Keyword(s):  
Contemporary Art ◽  
Chinese Identity ◽  
Chinese Contemporary Art ◽  
Western Art ◽  
Chinese State ◽  
The Aesthetic ◽  
And Control ◽  
Art Industry ◽  
Contemporary Chinese ◽  
Contemporary Artists

This article examines the art and travels of two contemporary Chinese artists – Ai Weiwei and Cai Guo-Qiang – to explore how each of them successfully navigates the rapidly shifting terrains and interests of the Chinese state and the global high art industry while simultaneously articulating a distinct politics and practice of creative ambivalence. We argue that these two artists’ creative productions and strategies: (1) refute various western critics’ critique of Chinese artists as inauthentic imitators of western art who produce exotic representations of China and Chinese identity for western consumption; (2) call into question the Chinese government’s numerous efforts to simultaneously promote and control Chinese contemporary art for nationalist/statist purposes. Furthermore, we unpack how both artists deploy various resources to produce complex works that interrogate and demonstrate the clashes of power, culture and identity in global spaces of encounter.

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