scholarly journals A snail in atetrahedron: Object of research — art history

2021 ◽  
pp. 93-101
Author(s):  
Olexander Klekovkin
Keyword(s):  
Art History ◽  
Cultural Practice ◽  
Scientific Fact ◽  
Art Production

The object of the article is to identify the challenges that art history has faced over several decades. It doesn’t imply solving the problems, it means defining them in order to draw the attention of art history to its own problems — in terms of its purpose and objectives, as well as the nature of the facts, which this cultural practice operates and creates. The analysis is based on the ideas of L. Wittgenstein, R. Dawkins, A. Mesudi, M. Kareev and the principles of active analysis. The questions the author tried to answer are questions of the meanings of today’s culture, the place of art history in it, the role of art history in art production, the strategy of art history and their connection with the special nature of scientific fact.

scholarly journals Surveillance in Practice: Operators’ Collective Interpretation of CCTV Images

2020 ◽  
Vol 18 (3) ◽  
pp. 312-327
Author(s):  
Barbara Heebels ◽  
Irina Van Aalst
Keyword(s):  
Group Dynamics ◽  
Cultural Practice ◽  
Control Room ◽  
Daily Work ◽  
Bodily Appearance ◽  
The People ◽  
Informal Practices ◽  
Cctv Surveillance ◽  
Social Sorting

CCTV surveillance is a cultural practice and collective effort. CCTV not only involves a technical assemblage that is used to discipline the surveilled, it is also a social assemblage in which the informal practices of operators play a major role in the multiple interpretations of images. This paper provides insights into the daily work practices and discourses of CCTV operators and their supervisors through observations of and interviews in the control room of public CCTV surveillance in Rotterdam. By providing a better understanding of the role of people in socio-technical assemblages, this paper contributes to the discussion on human mediation in computerized networks. The paper contributes to the expanding literature on surveillance as a cultural practice by combining insights on social sorting with insights on collective evaluation of unfolding situations—i.e., how group dynamics within the control room influence how people are “judged.” Building on Goffman’s frame analysis, the paper reveals the crucial role of talk and humor in re-performing what happens on the streets as well as evaluating situations and the people watched. Moreover, it discusses how these collective re-performances of what is being watched both reproduce and reshape “othering” practices within the control room. The paper shows how humorous utterances play an important part in overcoming hierarchy and collectively managing emotions, and explores how this humor influences profiling on the basis of bodily appearance.

Divine and Demonic Imagery at Tor de'Specchi, 1400-1500

2018 ◽  
Author(s):  
Suzanne Scanlan
Keyword(s):  
Fifteenth Century ◽  
Gender Studies ◽  
Art History ◽  
Religious Women ◽  
And Gender ◽  
Corporeal Nature

In the fifteenth century, the Oblates of Santa Francesca Romana, a fledgling community of religious women in Rome, commissioned an impressive array of artwork for their newly acquired living quarters, the Tor de'Specchi. The imagery focused overwhelmingly on the sensual, corporeal nature of contemporary spirituality, populating the walls of the monastery with a highly naturalistic assortment of earthly, divine, and demonic figures. This book draws on art history, anthropology, and gender studies to explore the disciplinary and didactic role of the images, as well as their relationship to important papal projects at the Vatican.

Agafonov’s Early Kharkiv Creative Period: Dialogue with the Theatre

2020 ◽  
Vol 2020 (3) ◽  
pp. 82-93
Author(s):  
V. Chechyk ◽  
Keyword(s):  
Art History ◽  
Artistic Practice ◽  
Partial Reconstruction ◽  
Theatrical Space ◽  
Native Art ◽  
History Of ◽  
Artistic Values ◽  
First Time ◽  
History Of Formation

This article is dedicated to the study of the nature of E. Agafonov’s creative ties with the theater – a topic that has been insufficiently covered in the native art history. The author’s field of view is set in the artist’s early Kharkiv period, marked as the years of 1905–1913. The article focuses on the exceptional role of E. Agafonov in the organization and the artistic practice of the first modernist theater “Blakytne Oko” in Kharkiv (1909–1911). Agafonov belonged to the constellation of masters who was very sensitive to the problem of evolving the artistic speech. He viewed the theater as a convincing platform for promoting and approving of the latest artistic values, discovered by Impressionism and Post-Impressionism. Experiments in easel art (with color, plastic, line, techniques, materials, etc.), largely inspired by the work of D. Burliuk (1906–1908), were directly reflected in Agafonov’s stage practice, namely in numerous designs of the modernist productions based on plays by M. Maeterlinkc, A. Schnitzler, S. Pshybyshevsky and O. Blok. In turn, it was established that theatrical motives were reflected in E. Agafonov’s easel art, as well as in the art of the students of his artistic studio – O. Rybnikov, I. Terentyev, M. Sinyakova, and K. Storozhnichenko. In this regard, a special attention is given to the linocuts by F. Nadezhdin. It was found that the program of “total” design of theatrical space (stage and auditorium), as well as the implementation of production ideas in the cabaret theater “Blakytne Oko” were the result of the master’s fascination with the concepts of artistic synthesis, actualized in the era of Modern. Agafonov moved from dramatization of paintings (of A. Beklin, F. Malyavin, and O. Rodin) to staging experimental show-programs like “The Evening of Autumn”, “Visiting Pierrot” and “In the Middle of Nowhere”, partial reconstruction of which was undertaken for the first time by the author of the article. Agafonov was close to the idea of artistic synthesis, identified by him in F. Malyavin’s paintings, in V. Komissarzhevska’s theatre and I. Duncan’s choreography. The study of E. Agafanov’s theatrical art expands the understanding of the history of formation and development of Ukrainian scenography at the beginning of the twentieth century.

Art History and Fetishism Abroad

2014 ◽  
Keyword(s):  
19Th Century ◽  
Art History ◽  
Historical Perspective ◽  
Cultural Practice ◽  
Colonial Expansion ◽  
Global Art

By focusing on the various modes and media of the fetishised object, this anthology shifts the debates on thingness into a new global art historical perspective. The contributors explore the attention given to those material images, in both artistic and cultural practice from the heyday of colonial expansion until today. They show that in becoming vehicles and agents of transculturality, so called »fetishes« take shape in the 17th to 19th century aesthetics, psychology and ethnography - and furthermore inspire a recent discourse on magical practice and its secular meanings requiring altered art historical approaches and methods.

The Adventures of the Optic Nerve

2004 ◽  
Author(s):  
John Elderfield
Keyword(s):  
Optic Nerve ◽  
Art History ◽  
Modern Art ◽  
Historical Study ◽  
Visual Medium ◽  
Relationship Of ◽  
The Relationship

This chapter presents the text of a lecture on the role of visual medium in art-historical study. It addresses the relationship of art history to the existential acts of painting and looking at painting and describes how the so-called story of modern art has been narrated in the history literature. It also considers how modern histories can accommodate the unfamiliar that is normally part of the story.

Monument Preservation and the Vexing Question of Religious Structures in Colonial India

2013 ◽  
Author(s):  
Indra Sengupta
Keyword(s):  
Cultural Practice ◽  
Religious Groups ◽  
Policy And Practice ◽  
Colonial State ◽  
Colonial India ◽  
Complex Process ◽  
Late Nineteenth ◽  
Ancient Monuments ◽  
Vexing Question

The principles of conservation spelled out in the first law on preservation for the whole of India — the Ancient Monuments Preservation Act of 1904 — were indicators of the ways in which conservation policy was made in colonial India: determined by the state, and heavily influenced by principles of preservation derived from Europe, based on a specifically colonial understanding of India's history and heritage, and of the ‘guardianship’ role of the colonial state. Yet attempts to implement pre-colonial religious structures could have unforeseen results, as local, indigenous religious groups began to utilize the opportunities for funding opened up by the new Act and succeeded in using the provisions of the Act in ways that best suited their own interests. This chapter looks closely at the interface between preservation policy and practice in colonial India in the late nineteenth/early twentieth centuries, and calls into question colonial hegemony as an explanatory framework for understanding a complex process of cultural practice.

Myth and the ‘home culture concept’

2018 ◽  
Author(s):  
Leah Modigliani
Keyword(s):  
Art History ◽  
Cultural Practice ◽  
Intentional Communities ◽  
Cultural Activity ◽  
Urban Centre ◽  
Home Culture ◽  
American Artist ◽  
Master's Thesis ◽  
Cultural Expressions ◽  
Back To The Land

Jeff Wall and Ian Wallace’s rejection of ‘home’ and ‘homeland,’ and the primacy of the manifesto as an important polemical tool in framing one’s work, are explored in Chapter 3 in relation to Wall’s art history master’s thesis on the Berlin Dada group, which established “myth” as an anti-critical cultural practice that was broadly applied to much of the cultural activity then active in Vancouver. Vancouver’s seeming “lack of history,” the existence of back-to-the-land intentional communities living outside of the urban centre, the proliferation of other performance and media based art groups, and the influence of visiting American artist Robert Smithson’s earthworks are all examined as cultural expressions deemed a-historical or romantic by photo-conceptualists.

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