scholarly journals Exhibition Strategies for Videogames in Art Institutions: Blank Arcade 2016

2018 ◽  
Vol 4 (2) ◽  
Author(s):  
Emilie M Reed
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Aesthetic Experience ◽  
Game Studies ◽  
Discursive Construction ◽  
Art Object ◽  
History Of ◽  
Cultural Status ◽  
Exhibition Strategies

While debate over videogames’ cultural status can still become contentious, theorist Bruce Altshuler describes the contemporary exhibition form as a route into art history, and exhibitions of videogames and their display choices have already drawn videogames into the discursive construction of the history of art. Therefore, contextualizing past exhibitions of videogames and examining curatorial practices is a vital part of shaping an interdisciplinary history of videogames. This paper summarizes my research and practical work in games curation within this context through a case study of The Blank Arcade 2016,specifically focusing on unexpected ways spectatorship and interaction coexist in videogame exhibitions. By reviewing the process of exhibition organization and the resulting visitor feedback, and finding intersections in game studies and contemporary art perspectives on tensions between spectatorship and interaction, I reflect on the effectiveness of the present curatorial process at addressing the varied ways gallery visitors experience videogames as an art object or aesthetic experience.

Hegel's Aesthetics

2019 ◽  
Author(s):  
Lydia L. Moland
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Aesthetic Experience ◽  
History Of Philosophy ◽  
Philosophy Of Art ◽  
New Approach ◽  
History Of ◽  
End Of Art

Hegel’s Aesthetics: The Art of Idealism is the first comprehensive interpretation of Hegel’s philosophy of art in English in thirty years. In a new analysis of Hegel’s notorious “end of art” thesis, it argues for a variety of ways art ends, including historical, conceptual, and prosaic endings. It shows the indispensability of Hegel’s aesthetics for understanding his philosophical idealism and introduces a new claim about his account of aesthetic experience. In contrast to previous interpretations, it argues for considering Hegel’s discussion of individual arts—architecture, sculpture, painting, music, and poetry—on their own terms, unlocking new insights about his theories of perception, feeling, selfhood, and freedom. This new approach allows Hegel’s philosophy to engage with modern aesthetic theories and opens new possibilities for applying Hegel’s aesthetics to contemporary art. Hegel’s Aesthetics also clarifies why Hegel is known as the “father of art history” by elucidating his controversial analysis of symbolic, classical, and romantic art and by clarifying his examples of each. By incorporating newly available sources from Hegel’s lectures on art, it expands our understanding of the particular artworks Hegel discusses as well as the theories he rejects. Hegel’s Aesthetics situates his arguments in the intense philosophizing about art among his contemporaries, including Kant, Lessing, Herder, Schelling, and the Schlegel brothers. It gives us a rich vision of the foundation of his ideas about art and the range of their application, confirming Hegel as one of the most important theorists of art in the history of philosophy.

scholarly journals DO HABITAT NATURAL AO SISTEMA DA ARTE: O CORPO DO ANIMAL COMO EVIDÊNCIA DO COMPLEXO DE MUDANÇAS DO MUNDO / From natural habitat to the art system: the animal’s body as evidence of a changing world

2021 ◽  
Vol 27 (41) ◽  
pp. 212-232
Author(s):  
Marco Túlio Lustosa De Alencar
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Natural Habitat ◽  
Art Object ◽  
Art Objects ◽  
Art Works ◽  
The World ◽  
History Of ◽  
Multiple Conformations ◽  
The Continuum

Este artigo situa de que maneira o animal – reconfigurado na forma de objeto de arte – pode ser tomado como evidência do continuum de mudanças que forjaram o mundo. A reprodução “artística” das espécies acompanha o percurso da própria humanidade, e, nos dias de hoje, sua presença estimula novas incumbências para a arte. Obras com essa especificidade têm sido capazes de acionar uma série de problemas de múltiplas conformações, sobretudo, quando os liames de humanos e animais se encontram no foco de instâncias diversificadas. Acompanhando a trajetória desses seres do habitat natural até sua recepção em espaços certificados, vê-se que, no mesmo rumo dos demais artefatos apropriados pelos artistas, trabalhos contendo animais podem ser considerados eminentes para o sistema da arte, a história da arte e a história do mundo.Palavras-chave: Animal na arte; Objetos de arte; História da arte; Arte contemporânea. AbstractThis article situates in what way the animal – reconfigured in the form of an art object – can be taken as evidence of the continuum of changes that forged the world. The “artistic” reproduction of species follows the path of humanity itself and, nowadays, its presence stimulates new tasks for art. Works with this specificity have been able to trigger a series of problems with multiple conformations, especially when the links between humans and animals are the focus of diversified instances. Following the trajectory of these beings from their natural habitat to their reception in certified spaces, one can see that, in the same course as other artifacts appropriated by artists, works containing animals can be considered eminent for the art system, the art history and the history of the world.Keywords: Animal in art; Art objects; Art history; Contemporary art.

Social Smoking and French Fancies: The Dublin Art(s) Club, 1886–98

2020 ◽  
Vol 25 (3) ◽  
pp. 365-380
Author(s):  
Kathryn Milligan
Keyword(s):  
National Identity ◽  
Art History ◽  
Cultural Exchange ◽  
Art World ◽  
Active Engagement ◽  
Cultural Revival ◽  
British Art ◽  
History Of ◽  
The City

Abstract ABSTRACT The Dublin Art(s) Club, which operated in the Irish capital from 1886 to 1898, offers an intriguing case study for modes of artistic networks and cultural exchange between Ireland and Britain in the closing decades of the nineteenth century. Despite this, the history of the Club has been little explored in historiography to date, often confused with other ventures by artists in the city. Examining the rise and fall of the Dublin Art(s) Club, along with its members and activities, this article retrieves its history and posits that it offers an example of an aspect of art in Ireland which was conspicuous for its cosmopolitan outlook and active engagement with the wider British art world, which then spanned across both islands. The history of the Dublin Art(s) Club poses a challenge to the extant scholarship of this period in Irish art history, which to date has been largely understood to be focused on themes of national identity, the cultural revival, and artists who left Ireland to train in Belgium and France. This article posits that by re-engaging with the activities of art clubs and societies, a more complex reading of artistic life in Victorian Dublin can emerge.

scholarly journals On the problem of the meaning and scope of the term school in contemporary art history (by the case of the Far Eastern region)

2021 ◽  
pp. 270-275
Author(s):  
Н.А. Левданская
Keyword(s):  
Art Education ◽  
Contemporary Art ◽  
Art History ◽  
Far East ◽  
Eastern Region ◽  
Long Period ◽  
The Far East ◽  
History Of ◽  
Style Preferences ◽  
Far Eastern

Редкое исследование, посвященное современному художественному процессу, его участникам, обходится без употребления термина «школа». При этом его содержание трактуется очень широко: от сложившейся и действующей на протяжении большого отрезка времени системы полного цикла профессионального художественного образования до принадлежности художников одной территории или следования за лидером в выборе стилевых предпочтений. В статье дается краткий очерк истории появления и бытования термина «школа», предлагается уточнение его содержания в современных условиях и на этой основе предпринимается попытка оценить ситуацию с формированием региональных школ в России на примере Дальнего Востока. A rare study devoted to the contemporary art process, its participants, dispenses with the use of the term "school". At the same time, its content is interpreted very broadly: from the system of a full cycle of professional art education that has been established and has been operating for a long period of time to artists belonging to the same territory or following the leader in choosing style preferences. The article gives a brief outline of the history of the emergence and existence of the term "school", suggests clarifying its content in modern conditions and on this basis attempts to assess the situation with the formation of regional schools in Russia, using the example of the Far East.

Forging the “New” in Contemporary Art in Brazil, 1960s and 1970s

2021 ◽  
Author(s):  
Elena Shtromberg
Keyword(s):  
Information And Communication Technologies ◽  
Contemporary Art ◽  
The United States ◽  
Capital City ◽  
Military Coup ◽  
Brazilian Art ◽  
Art Object ◽  
History Of ◽  
1960S And 1970S ◽  
The 1960S

The history of exhibitions in Brazil during the 1960s and 1970s provides a key reference point for understanding how artistic vanguards and contemporary art unfolded in direct relationship to social and political contexts. The seminal exhibitions during these pivotal decades elucidate how the contemporary in Brazilian art stages and reframes conceptions of the “new” vis-à-vis the art object. The exhibitions in question trace the development of Ferreira Gullar’s não-objeto (non-object, 1959) and its path toward the idea-based artwork, an impulse that was prevalent throughout the 1960s in the United States and Europe as well. Inaugurated by the emergence of Brasília, Brazil’s new capital city in the formerly barren hinterlands of the state of Goiás, the 1960s witnessed a new model of artistic practice that pushed the boundaries between art and life, actively seeking out the participation of the viewer. This is most evidenced in the canonical work of artists Hélio Oiticica and Lygia Clark. By the 1970s, challenges to the utopian undertakings from the previous decades had become imbricated with political activism, as artists and intellectuals alike pronounced a commitment to the quest for democracy after the military coup of 1964. The 1970s also witnessed heightened artistic engagement with new information and communication technologies, including the use of video equipment and computers. Constructing the history of Brazil’s contemporary art via the most important moments of its display will not only historically and politically contextualize some of the groundbreaking artists and artworks of these two decades, but also introduce readers to the challenges that these artworks posed to the more traditional methods of institutional display and the criteria used to interpret them.

The case study of an Italian contemporary art object: Materials and state of conservation of the painting “Ragazzo seduto” by Remo Brindisi

2014 ◽  
Vol 15 (5) ◽  
pp. 564-568
Author(s):  
Tommaso Rovetta ◽  
Sara Bianchin ◽  
Giuseppe Salemi ◽  
Monica Favaro
Keyword(s):  
Contemporary Art ◽  
Art Object

scholarly journals Architecture as politics

2014 ◽  
Vol 6 (1) ◽  
pp. 63-74
Author(s):  
Gabriela Świtek
Keyword(s):  
Contemporary Art ◽  
Fine Arts ◽  
Public Spaces ◽  
Main Concern ◽  
Architectural Theory ◽  
Politics Of Aesthetics ◽  
History Of ◽  
National Gallery Of Art ◽  
Philosophical Writings

The paper presents a comment on Jacques Rancière's thinking on architecture as traced in The Politics of Aesthetics and juxtaposed with a case study - 1st Exhibition of Architecture of the People's Poland. The exhibition organized in the era of Stalinism (1953) and shown in the Central Bureau for Artistic Exhibitions (nowadays the Zachęta - National Gallery of Art in Warsaw) is seen as a manifestation of 'artistic regimes' of the period and as aesthetisation of architecture which is commonly considered the most 'political' of all the (fine) arts. Architecture does not seem to be the main concern of The Politics of Aesthetics; most translators and (Polish) commentators of Rancière's philosophical writings draw our attention to the importance of his aesthetics for the relational aspects of contemporary art in public spaces. The article aims at emphasizing the architectural moments in Rancière's project of aesthetics as politics; it also elaborates a couple of notions poiēsis/mimēsis - as discussed by Rancière - in relation to architectural theory and history of architectural exhibitions.

scholarly journals Markers Of Post-conceptual Painting In Bandung Contemporary Arts (A Case Study On Errata-optika Exhibition

2017 ◽  
Vol 31 (3) ◽  
Author(s):  
Kiky Rizky Soetisna Putri ◽  
Setiawan Sabana
Keyword(s):  
Qualitative Methods ◽  
Contemporary Art ◽  
Paradigm Shift ◽  
Optical Devices ◽  
History Of ◽  
Contemporary Painting ◽  
Important Milestone

Painting in its development has undergone various criticisms both of the medium and its conceptual substance. Currently painting is widely regarded as mere representation strategy. This study tries to see and tracing the paradigm shift in the era of contemporary painting, conceptual expansion, particularly the use of optical devices in its creation. Case study in this research is an exhibition in 2007 entitled Errata-Optika that was believed to be an important milestone paradigm shift in contemporary painting. This study used qualitative methods to approach the criticism and the study ofliterature on the history of painting to contemporary era. Observation was carried out as a method of collecting data from the exhibition Errata-Optika. The exhibition featured seven artists and twenty-two paintings that used optical devices in its creation method.Keywords: Post-conceptual Painting, Contemporary Art, Bandung, Exhibition

Continuum Generation by Generation: The representation of Chinese traditions at the China Pavilion of the 57th Venice Biennale

2019 ◽  
Vol 6 (2) ◽  
pp. 343-366
Author(s):  
Ornella De Nigris
Keyword(s):  
Contemporary Art ◽  
Chinese Art ◽  
Chinese Tradition ◽  
Contemporary Chinese Art ◽  
Continuum Generation ◽  
History Of ◽  
The Relationship ◽  
Contemporary Chinese ◽  
Venice Biennale

Abstract This article focuses on the China pavilion of the 57th Venice Biennale as a case study. The theme of the pavilion, Continuum ‐ Generation by Generation, revolved around the long history of Chinese tradition and offered a visual re-elaboration of it by means of contemporary art and folk art. The works exhibited drew on Chinese mythology, masterpieces of Chinese art history, philosophical concepts and handcraft traditions, hence presenting a variegated image of (contemporary) Chinese art. This exhibition offers opportunities for a critical reading of the relationship between contemporary art and tradition implied by the theme Continuum, and I will explore the narrative and curatorial discourse it presented to the audience.

Sign in / Sign up

Export Citation Format

Share Document