scholarly journals The Forgotten Women: Investigating the Absence of the Female Artist from Traditionally Male-Centric Southeast Asian Contemporary Art Historical Narratives

2021 ◽  
Author(s):  
Vasanth Narayanan ◽  
Keyword(s):  
Contemporary Art ◽  
Modern Art ◽  
Southeast Asian ◽  
Historical Narratives ◽  
The Internet ◽  
The Public

Until recently, Southeast Asian contemporary art’s historical narratives overlooked the influence of female artists. This underrepresentation of female artists is not unique to Asia, nor is it exclusive to contemporary art. Curators’ decisions and other factors may have contributed to the trend in part. However, within the realm of modern art, possibilities have lately developed that may expose the public to the work of more female artists. These include curating shows exclusively for female artists and prominently showcasing the work of female artists on the Internet.

The Preter-National: The Southeast Asian Contemporary and What Haunts It

ARTMargins ◽  
2017 ◽  
Vol 6 (1) ◽  
pp. 33-63
Author(s):  
David Teh
Keyword(s):  
Cold War ◽  
Contemporary Art ◽  
Modern Art ◽  
Southeast Asian ◽  
Global Market ◽  
War Trauma ◽  
First Century ◽  
The Other ◽  
The Cold War ◽  
Regional Perspective

Southeast Asian modern art has thus far been historicized largely within national historical frameworks. The region's contemporary art has been pulled, sometimes unwillingly, into those national frameworks, even as it enters a global market and takes part in a more transnational dialogue. What is the geography proper to contemporary art? And what insights might a regional perspective afford about art that speaks to a world beyond the nation, but resists outright assimilation under the rubric of ‘the global’? This essay proposes a calibration of three art historical frames – national, regional and international. I argue that far from meaning transcendence of national frames, even where artists intend it, contemporaneity compounds and complicates them. I examine two specific manifestations of contemporaneity, one that emerged at the height of the Cold War in the work of a Sino-Thai modernist, Chang Sae-tang; the other in the broaching of Cold War trauma in art and film of the ‘post-historical’ twenty-first century. Neither ‘contemporary’ can be understood without its respective national framing, but that framing alone proves inadequate for describing the complex histories, subjectivities, and formal choices with which Southeast Asian artists have grappled. If studies of modern art demanded recourse to specific national histories, the study of contemporary art will require no less specific histories of the international.

scholarly journals Americocentrism and Art of the Caribbean: Contours of a Time–Space Logic

2013 ◽  
Vol 47 (2) ◽  
pp. 417-438 ◽  
Author(s):  
LEON WAINWRIGHT
Keyword(s):  
United States ◽  
Contemporary Art ◽  
African Diaspora ◽  
Art History ◽  
Modern Art ◽  
The United States ◽  
Historical Narratives ◽  
Time Space ◽  
The Caribbean ◽  
Space Logic

Art of the transnational Caribbean has come to be positioned by an understanding of the African diaspora that is oriented to an American “centre,” a situation to be explored for what it reveals about the hegemonic status of the United States in the discipline of contemporary art history. The predominant uses of the diaspora concept both in art-historical narratives and in curatorial spaces are those that connect to United States-based realities, with little pertinence to a strictly transnational theorization. This has implications for how modern art and contemporary art are thought about in relation to the Caribbean and its diaspora, in a way that this article demonstrates with attention to a number of artists at multiple sites, in Trinidad, Guyana, Britain and America.

scholarly journals Museum and Gallery of Contemporary Art Medan (Contemporary Architecture)

2017 ◽  
Vol 1 (1) ◽  
pp. 82-90
Author(s):  
Imam Faisal Pane ◽  
Rahmita Dewi Lubis
Keyword(s):  
Contemporary Art ◽  
Art Museum ◽  
Internet Survey ◽  
The Internet ◽  
Main Function ◽  
The Public ◽  
Architecture Style ◽  
Contemporary Architecture ◽  
Made In

The Museum is a place to see showpieces as art, artifacts, and other cultural relics. The purpose of the museum is not only for education but also as entertainment. This design takes the case study of a contemporary art museum. This museum has a gallery, which function is to sell and auction the contemporary art. This Museum and Gallery designed with contemporary architecture style, suitable for the main function of the building which is museum and gallery of contemporary art. The museum and gallery will also help to develop the tourism in Medan and to be an education facility to the public. There are few steps made in the process of completing the design; the first one is by collecting data from the literature, books, journal, magazine, the internet, survey, and interview. And from the data collected, the design for Museum and Gallery of Contemporary Art will be produced. 

scholarly journals Institutional Aspects of Development of Contemporary Ukrainian Art

2021 ◽  
pp. 112-117
Author(s):  
Tatiana Mironova
Keyword(s):  
Contemporary Art ◽  
Fine Arts ◽  
The Internet ◽  
Creative Activity ◽  
Cultural Industry ◽  
General Development ◽  
The Public ◽  
Art Practices ◽  
Institutional Aspects ◽  
In The Beginning

The publication considers the institutional aspects of the development of Ukrainian art in the beginning of the 21st century. Understanding ofspace of artistic culture is narrower than the concept of traditional cultural space and is mostly limited to institutions, activities of which are focused on the sphere of art. The basis for the formation of the space of artistic culture isthe synergy of creative activity of the artists, managers, collectors, gallery owners, auctioneers, curators, critics, scientists, and other professionals. This space expands due to the institutional activities, analytical texts of specialists, collective performative actions of artists, as well as the processes of promotion (management), interpretation, museum storage, auction and gallery sales, exhibition at the biennial, fairs, exhibitions, distribution of photos and texts on the Internet. Thus, art practices in their activities today are transformed into an established non-subordinate cultural industry of active cooperation of all these entities. The demarcation of the boundaries between the fine arts and “free locations” not only creates a special sphere of culture that exists between art and life, but also opens contemporary art to the public, as both trained spectators and casual witnesses are involved in the work. Exposition practices, evolving in the process of general development of culture, choose the ways of their development in accordance with the requirements of the time, and their formation and style are based on the main trends and criteria of contemporary art.

scholarly journals The Problem Field of Ethico-Cultural Evaluation of Contemporary Art

2020 ◽  
Author(s):  
Karolina-Dzhoanna Gomes
Keyword(s):  
Contemporary Art ◽  
Hate Speech ◽  
Modern Art ◽  
Theoretical Framework ◽  
Comprehensive Approach ◽  
Critical Research ◽  
The Public ◽  
Public Reaction ◽  
Contemporary Practice ◽  
Art Evaluation

The challenges of contemporary art include its perception by the public and society in general. Modern art has long utilized provocative and deliberately disruptive acts and statements as one of the tools that allow it to produce public reaction. However, today such actions and statements increasingly face explosive responses from offended audiences, especially amongst the more conservative parts of society. Often such reactions do not limit themselves to the expression of public indignation but proceed to courts and demands to officially sanction offensive art. This article contributes to the polemic around offensive art by identifying problems in contemporary practice of art evaluation in Russia and its limitation, and suggesting ethico-cultural evaluation as a comprehensive approach to analyse the art event or work as insulting or morally dangerous. The identification of problems is based on analysis of existing experts’ statements on the artworks denounced as offensive. The theoretical framework of the research is provided by regulatory legal acts, critical research on vilification laws and the theory of humanitarian evaluation. Keywords: ethico-cultural evaluation, hate speech, religious feelings, Russia, Article 282, Article 148, religious offense, offensive art

The Suffering of the Perpetrators: The Ethics of Traumatic German Historicity in Karen Bass's Young Adult World War II Novels

2014 ◽  
Vol 7 (1) ◽  
pp. 64-77
Author(s):  
Doris Wolf
Keyword(s):  
World War Ii ◽  
Young Adult ◽  
Public Sphere ◽  
Childhood Studies ◽  
Historical Narratives ◽  
World War ◽  
The Public ◽  
The Past ◽  
Adult World ◽  
The Public Sphere

This paper examines two young adult novels, Run Like Jäger (2008) and Summer of Fire (2009), by Canadian writer Karen Bass, which centre on the experiences of so-called ordinary German teenagers in World War II. Although guilt and perpetration are themes addressed in these books, their focus is primarily on the ways in which Germans suffered at the hands of the Allied forces. These books thus participate in the increasingly widespread but still controversial subject of the suffering of the perpetrators. Bringing work in childhood studies to bear on contemporary representations of German wartime suffering in the public sphere, I explore how Bass's novels, through the liminal figure of the adolescent, participate in a culture of self-victimisation that downplays guilt rather than more ethically contextualises suffering within guilt. These historical narratives are framed by contemporary narratives which centre on troubled teen protagonists who need the stories of the past for their own individualisation in the present. In their evacuation of crucial historical contexts, both Run Like Jäger and Summer of Fire support optimistic and gendered narratives of individualism that ultimately refuse complicated understandings of adolescent agency in the past or present.

Detecting “DeepFakes” in H.264 Video Data Using Compression Ghost Artifacts

2020 ◽  
Vol 2020 (4) ◽  
pp. 116-1-116-7
Author(s):  
Raphael Antonius Frick ◽  
Sascha Zmudzinski ◽  
Martin Steinebach
Keyword(s):  
Image Forensics ◽  
Video Data ◽  
Experimental Results ◽  
Video Sequences ◽  
The Internet ◽  
Video Content ◽  
High Quality ◽  
The Public

In recent years, the number of forged videos circulating on the Internet has immensely increased. Software and services to create such forgeries have become more and more accessible to the public. In this regard, the risk of malicious use of forged videos has risen. This work proposes an approach based on the Ghost effect knwon from image forensics for detecting forgeries in videos that can replace faces in video sequences or change the mimic of a face. The experimental results show that the proposed approach is able to identify forgery in high-quality encoded video content.

The Internet Trap

2018 ◽  
Author(s):  
Matthew Hindman
Keyword(s):  
The Internet ◽  
Net Neutrality ◽  
The Public ◽  
Attention Economy ◽  
Digital News ◽  
The Cost ◽  
Over Time

The Internet was supposed to fragment audiences and make media monopolies impossible. Instead, behemoths like Google and Facebook now dominate the time we spend online—and grab all the profits from the attention economy. This book explains how this happened. It sheds light on the stunning rise of the digital giants and the online struggles of nearly everyone else—and reveals what small players can do to survive in a game that is rigged against them. The book shows how seemingly tiny advantages in attracting users can snowball over time. The Internet has not reduced the cost of reaching audiences—it has merely shifted who pays and how. Challenging some of the most enduring myths of digital life, the book explains why the Internet is not the postindustrial technology that has been sold to the public, how it has become mathematically impossible for grad students in a garage to beat Google, and why net neutrality alone is no guarantee of an open Internet. It also explains why the challenges for local digital news outlets and other small players are worse than they appear and demonstrates what it really takes to grow a digital audience and stay alive in today's online economy. The book shows why, even on the Internet, there is still no such thing as a free audience.

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