scholarly journals Re-Presenting Art History

2022 ◽  
pp. 173-182
Author(s):  
Cristina Baldacci
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Object Image ◽  
Art Practice ◽  
Critical Task ◽  
Presence And Absence ◽  
Political Act

Can reenactment both as reactivation of images and restaging of exhibitions be considered an alternative way of tackling the critical task to re-present art history (i.e., to present it anew) in the here and now, over and over and over again? The gesture of restoring visibility to something no longer present, reactivating or reembodying it as an object/image in and for the present, is here proposed as a (political) act of restitution and historical recontextualization. Examining the boundaries between past and present, original and copy (as well as originality and copyright), repetition and variation, authenticity and auraticity, presence and absence, canon and appropriation, durée and transience, the paper focuses on remediation, reinterpretation, and reconstruction as creative gestures and cultural promises in contemporary art practice, curatorship, and museology.

scholarly journals Contemporary Taonga: The Art Works of Brett Graham

2021 ◽  
Author(s):  
◽  
Anna-Marie White
Keyword(s):  
New Zealand ◽  
Contemporary Art ◽  
Art History ◽  
Art World ◽  
Art Practice ◽  
Collaborative Process ◽  
Western Art ◽  
Art Works ◽  
Kaupapa Māori ◽  
The Impact

<p>The production of taonga is a sovereign Māori tradition closely guarded in contemporary Māori society. Many Contemporary Māori Artists observe taonga principles in their work though these qualities are stifled within the New Zealand art system. In the 1990s these subjects were fiercely debated resulting in Contemporary Māori Art being defined differently to the ancestral tradition of taonga. This debate created a rupture, which disturbs the practice of Māori art and is a major concern in the emerging practice of Māori art history. Reviving earlier arguments for Contemporary Māori Art to be defined according to the principles of taonga, this thesis applies the concept of ‘contemporary taonga’ to the art works of Brett Graham (Ngāti Koroki Kahukura), to argue that taonga production is active in contemporary Māori life and offers a new method to reconcile Māori art histories.  The practice of Kaupapa Māori research and theory enlivened the taonga principles of Brett Graham’s art works. Intensive accounts of two art works, produced a decade apart, reveal ‘contemporary taonga’ to be a collaborative process involving recognition and instrumentalisation by authoritative Māori viewers. Kahukura (1996), produced in response to the debates was, however, overwhelmed by competing interests of the time. Āniwaniwa (2006) undertook an arduous journey—to the centre of the Western art world in order to be shown within the artist’s tribal rohe—where Ngāti Koroki Kahukura kaumātua recognised Graham as a tohunga. Iwi leaders also employed Āniwaniwa in their Treaty of Waitangi claims process, functionalising the art work as taonga to support the advancement of their people. Āniwaniwa then left New Zealand to play a role in the formalisation of an international indigenous art network.   As a type for contemporary taonga, Āniwaniwa is an expansive model to introduce this concept to contemporary art discourse. The impact of this concept is yet to be realised though immediately reconciles long-standing issues in Māori art. ‘Contemporary taonga’ has the potential to radically reconcieve, and reorganise, Contemporary Māori Art practice and history according to the practice of ancestral Māori traditions and determined by the authority and agency of Māori people.</p>

scholarly journals Contemporary Taonga: The Art Works of Brett Graham

2021 ◽  
Author(s):  
◽  
Anna-Marie White
Keyword(s):  
New Zealand ◽  
Contemporary Art ◽  
Art History ◽  
Art World ◽  
Art Practice ◽  
Collaborative Process ◽  
Western Art ◽  
Art Works ◽  
Kaupapa Māori ◽  
The Impact

<p>The production of taonga is a sovereign Māori tradition closely guarded in contemporary Māori society. Many Contemporary Māori Artists observe taonga principles in their work though these qualities are stifled within the New Zealand art system. In the 1990s these subjects were fiercely debated resulting in Contemporary Māori Art being defined differently to the ancestral tradition of taonga. This debate created a rupture, which disturbs the practice of Māori art and is a major concern in the emerging practice of Māori art history. Reviving earlier arguments for Contemporary Māori Art to be defined according to the principles of taonga, this thesis applies the concept of ‘contemporary taonga’ to the art works of Brett Graham (Ngāti Koroki Kahukura), to argue that taonga production is active in contemporary Māori life and offers a new method to reconcile Māori art histories.  The practice of Kaupapa Māori research and theory enlivened the taonga principles of Brett Graham’s art works. Intensive accounts of two art works, produced a decade apart, reveal ‘contemporary taonga’ to be a collaborative process involving recognition and instrumentalisation by authoritative Māori viewers. Kahukura (1996), produced in response to the debates was, however, overwhelmed by competing interests of the time. Āniwaniwa (2006) undertook an arduous journey—to the centre of the Western art world in order to be shown within the artist’s tribal rohe—where Ngāti Koroki Kahukura kaumātua recognised Graham as a tohunga. Iwi leaders also employed Āniwaniwa in their Treaty of Waitangi claims process, functionalising the art work as taonga to support the advancement of their people. Āniwaniwa then left New Zealand to play a role in the formalisation of an international indigenous art network.   As a type for contemporary taonga, Āniwaniwa is an expansive model to introduce this concept to contemporary art discourse. The impact of this concept is yet to be realised though immediately reconciles long-standing issues in Māori art. ‘Contemporary taonga’ has the potential to radically reconcieve, and reorganise, Contemporary Māori Art practice and history according to the practice of ancestral Māori traditions and determined by the authority and agency of Māori people.</p>

scholarly journals Contemporary Art Practice and Indigenous Knowledge

2020 ◽  
Vol 68 (2) ◽  
pp. 111-128
Author(s):  
Gerald McMaster
Keyword(s):  
Medicinal Plants ◽  
Indigenous Knowledge ◽  
Traditional Knowledge ◽  
Contemporary Art ◽  
Art World ◽  
Art Practice ◽  
Knowledge Practices ◽  
Communal Sharing ◽  
Cultural Hero ◽  
The Way

AbstractIndigenous artists are introducing traditional knowledge practices to the contemporary art world. This article discusses the work of selected Indigenous artists and relays their contribution towards changing art discourses and understandings of Indigenous knowledge. Anishinaabe artist Norval Morrisseau led the way by introducing ancient mythos; the gifted Carl Beam enlarged his oeuvre with ancient building practices; Peter Clair connected traditional Mi'kmaq craft and colonial influence in contemporary basketry; and Edward Poitras brought to life the cultural hero Coyote. More recently, Beau Dick has surprised international art audiences with his masks; Christi Belcourt’s studies of medicinal plants take on new meaning in paintings; Bonnie Devine creates stories around canoes and baskets; Adrian Stimson performs the trickster/ruse myth in the guise of a two-spirited character; and Lisa Myers’s work with the communal sharing of food typifies a younger generation of artists re-engaging with traditional knowledge.

scholarly journals Being-with: Access to Relation, Participation, and Togetherness in Contemporary Art

2017 ◽  
Vol 6 (1) ◽  
Author(s):  
Tony Valberg
Keyword(s):  
Contemporary Art ◽  
Social Space ◽  
Small Town ◽  
Art Practice ◽  
Research Project ◽  
Relational Practices ◽  
The Arts ◽  
The Social ◽  
Specific Setting

Being-with is an artistically based research project aimed at applying and studying participatory and relational practices within the arts as well as addressing the esthetical and ethical questions that such practices generate. The participants in Being-with – researchers and artists as well as children, parents, grandparents, siblings and other residents in the small town of Høvåg in Norway – gathered weekly for half a year to experience how aesthetic production may interact with social space and vice versa. The article reflects on what consequences such interaction may have for the conception of art, and its arenas and agendas … when we consider art not only as a reflection of our lives, but also as an agent shaping our lives and changing the social surroundings we are part of. The article relates discourses of aesthetics penned by continental philosophers over the last 50 years to a specific setting in a Nordic contemporary art practice.

scholarly journals The Persistence of Primitivism: Equivocation in Ernesto Neto’s A Sacred Place and Critical Practice

Arts ◽  
2019 ◽  
Vol 8 (3) ◽  
pp. 111
Author(s):  
Camila Maroja
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Native People ◽  
Amazon Rainforest ◽  
Critical Practice ◽  
Sacred Place ◽  
Art Practices ◽  
Environmental Work ◽  
Global Art ◽  
Venice Biennale

During the 2017 Venice Biennale, the area dubbed the “Pavilion of the Shamans” opened with A Sacred Place, an immersive environmental work created by the Brazilian artist Ernesto Neto in collaboration with the Huni Kuin, a native people of the Amazon rainforest. Despite the co-authorship of the installation, the artwork was dismissed by art critics as engaging in primitivism and colonialism. Borrowing anthropologist Eduardo Viveiros de Castro’s concept of equivocation, this article examines the incorporation of both indigenous and contemporary art practices in A Sacred Place. The text ultimately argues that a more equivocal, open interpretation of the work could lead to a better understanding of the work and a more self-reflexive global art history that can look at and learn from at its own comparative limitations.

Who (or What) is an AI Artist?

Leonardo ◽  
2021 ◽  
pp. 1-9
Author(s):  
Kieran Browne
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Art Market ◽  
Art World ◽  
Significant Disagreement ◽  
History And Theory

Abstract The mainstream contemporary art world is suddenly showing interest in “AI art”. While this has enlivened the practice, there remains significant disagreement over who or what actually deserves to be called an “AI artist”. This article examines several claimants to the term and grounds these in art history and theory. It addresses the controversial elevation of some artists over others and accounts for these choices, arguing that the art market alienates AI artists from their work. Finally, it proposes that AI art's interactions with art institutions have not promoted new creative possibilities but have instead reinforced conservative forms and aesthetics.

scholarly journals Vanitas Obsolescentum An exhibition of images

2021 ◽  
Author(s):  
Lianne Wing Yan Ho
Keyword(s):  
Contemporary Art ◽  
North American ◽  
Art History ◽  
Conceptual Development ◽  
17Th Century ◽  
North American Society ◽  
Dutch Golden Age ◽  
American Society ◽  
Relationship Of ◽  
The Relationship

Vanitas Obsolescentum is a comment on the obsolescence of contemporary commodity. It draws from prominent theories of obsolescence and appropriates 17th century Dutch Vanitas paintings. This paper begins by addressing themes relevant to the conceptual development of the series, including theories of obsolescence as presented by Packard, Papanek and Slade, the relationship of Dutch Golden Age society to contemporary North American society, Dutch Vanitas paintings, and appropriation of the Vanitas genre in contemporary art history and within this series. It provides a rationale for the use of holography as medium to express concepts of transience and hyperreality. This paper concludes with a discussion of the specifics of Vanitas Obsolescentum, including the symbolism and meaning of each piece within the series.

Representing, Performing and Mitigating Climate Change in Contemporary Art Practice

Leonardo ◽  
2012 ◽  
Vol 45 (2) ◽  
pp. 124-131 ◽  
Author(s):  
Gabriella Giannachi
Keyword(s):  
Climate Change ◽  
New Media ◽  
Contemporary Art ◽  
Visual Arts ◽  
Art Practice ◽  
Quarter Century ◽  
The Public

Over the last quarter-century, an increasing number of artists have been variously engaging the public in artworks addressing the anthropogenic phenomenon known as climate change. Focusing specifically on works developed in the fields of visual arts, performance and new media, and on a body of theory attempting to distinguish between terms such as nature, landscape, weather, climate and environment, this article aims to offer an exploration of how these works, by adopting, often concurrently, three strategies—representation, performance and mitigation—affect our understanding of our changing relationship to nature and climate.

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