scholarly journals Advanced design processes in some case studies from the contemporary art system: Delvoye, Fornasetti, Rist

2011 ◽  
Vol 4 (1) ◽  
pp. 1-4 ◽  
Author(s):  
Flaviano Celaschi
Keyword(s):  
Case Studies ◽  
Contemporary Art ◽  
Design Processes

scholarly journals L’exposition, un contexte de collaboration sur la scène mondiale de l’art : un cas de figure, l’art africain contemporain

2018 ◽  
Vol 9 (1) ◽  
pp. 33-43
Author(s):  
Francine Couture
Keyword(s):  
Case Studies ◽  
Contemporary Art ◽  
Cooperative Network ◽  
Art Exhibitions ◽  
African Art ◽  
Art Worlds ◽  
Art Scene ◽  
Contemporary African Art

This analysis of the context of the globalization of the contemporary art scene is based on the concept of the cooperative network of the art worlds, as defined by the American sociologist Howard Becker, applied to the exhibition's sociological character. It is approached as a sociocultural event furthering the establishment of a cooperative network among artists, commissioners, critics and theoreticians who acknowledge in the exhibited works a certain number of values and ideas about art which they share to various degrees. Case studies from the corpus of contemporary African-art exhibitions that have been labelled as contemporary African art on the international stage serve as illustrations for this analysis.

The Oxford Handbook of Sound and Image in Western Art

2013 ◽  
Keyword(s):  
Case Studies ◽  
Contemporary Art ◽  
Performing Arts ◽  
Music Performance ◽  
Sound Art ◽  
Short Film ◽  
Contemporary Dance ◽  
Avant Garde ◽  
Western Art ◽  
Experimental Theatre

This book examines different kinds of analogies, mutual influences, integrations, and collaborations of the audio and the visual in different art forms. The contributions, written by key theoreticians and practitioners, represent state-of-the-art case studies in contemporary art, integrating music, sound, and image with key figure of modern thinking constitute a foundation for the discussion. It thus emphasizes avant-garde and experimental tendencies, while analyzing them in historical, theoretical, and critical frameworks. The book is organized around three core subjects, each of which constitutes one section of the book. The first concentrates on the interaction between seeing and hearing. Examples of classic and digital animation, video art, choreography, and music performance, which are motivated by the issue of eye versus ear perception are examined in this section. The second section explores experimental forms emanating from the expansion of the concepts of music and space to include environmental sounds, vibrating frequencies, language, human habitats, the human body, and more. The reader will find here an analysis of different manifestations of this aesthetic shift in sound art, fine art, contemporary dance, multimedia theatre, and cinema. The last section shows how the new light shed by modernism on the performative aspect of music has led it—together with sound, voice, and text—to become active in new ways in postmodern and contemporary art creation. In addition to examples of real-time performing arts such as music theatre, experimental theatre, and dance, it includes case studies that demonstrate performativity in visual poetry, short film, and cinema.

scholarly journals OVERVÅGNING SOM LOVGIVNING - HASAN ELAHI OG SURVEILLANCE CAMERA PLAYERS SOM EKSEMPEL

2010 ◽  
Vol 38 (110) ◽  
pp. 129-146
Author(s):  
Karen-Margrethe Simonsen
Keyword(s):  
World War Ii ◽  
Case Studies ◽  
Contemporary Art ◽  
World War ◽  
Surveillance Camera ◽  
Control Society ◽  
Point Of Departure

SURVEILLANCE AS LAW. CASE-STUDIES OF HASAN ELAHI AND THE SURVEILLANCE CAMERA PLAYERSThis article traces sousveillance strategies in two pieces of contemporary art, namely in Hasan Elahi’s Tracking Transience (2002), and 1984 by The Surveillance Camera Players. It discusses the ways that contemporary art reflects surveillance in an ironic and metareflective way. The article is based on the idea that the conditions for understanding the logics of surveillance have changed since World War II. It takes its point of departure in Gilles Deleuze’s proposition that we live in post-disciplinarian societies and that contemporary surveillance should be understood not according to the logic of the panopticon but according to the logic of a coded ‘control society’ based on modulations. It also follows the idea, proposed by Larry Catá Backer that surveillance not only is a phenomenon facilitated by law but is also a phenomenon that creates its own law and regulation.

scholarly journals Design dialogues. Ambiguity of “Design” within Architectural Studio

2017 ◽  
Vol 2 (3) ◽  
pp. 53
Author(s):  
Annabel C. Pretty ◽  
Peter McPherson
Keyword(s):  
Case Studies ◽  
Large Scale ◽  
Canterbury Tales ◽  
City Centre ◽  
Student Body ◽  
Design Processes ◽  
Design Methodologies ◽  
Second Year ◽  
The City

<p>The ambiguous nature of the word “design” offers up a complex dialectic dialogue for the architectural studio lecturers to impart to their students. Discussing the “design”, more commonly referred to as the programme or scheme, is quite a different beast to the process or design methodologies the students use to create an architectural proposition or “design”. Clarity around this notion of design as both the process, in being design-led, and also as the end result, becomes a necessary task for studio lecturers to inculcate into the student body.<br />This paper aims to navigate through the mire/path of the design methodologies as adopted within architecture studio teaching at second year level within the Bachelor of Architectural Studies, Unitec Department of Architecture – by way of using the tried and tested notions of First Insight / Empathy, Preparation, Incubation, Illumination, Verification, with the anticipation that these are the essential tools with which to interface teaching and practice, within the context of a “live build project”.<br />Three years’ worth of case studies of large scale Interdisciplinary and collaborative “live build projects” in Christchurch in conjunction with the Festival of Transitional Architecture (FESTA) are used to demonstrate and investigate the heuristic design processes that are an integral part of a prospective architect’s arsenal of skills. These case studies offered a complex window of tasks, not least that the students were designing in Auckland 1000 km away from the Christchurch sites, and each year posed a different set of problems and clients-related issues. Luxcity 2012 / Canterbury Tales 2013 / CityUps 2014 were the students’ responses to FESTA’s call to rejuvenate the city centre after the earthquakes of 2010 and 2011, and all of which were assembled only for a 24-hour period over Labour Day Weekend.</p>

scholarly journals ‘Contemporary Classicism’ Copy of a Copy: Appropriating Classical Statues as Conceptual Readymades

CLARA ◽  
2021 ◽  
Vol 8 ◽  
Author(s):  
Hallie Meredith ◽  
Sarah Barnett
Keyword(s):  
Digital Media ◽  
Case Studies ◽  
Contemporary Art ◽  
Generative Art ◽  
The Past ◽  
Greco Roman ◽  
Classical Work ◽  
Accessible Point ◽  
Greek Sculpture ◽  
Point Of Reference

Conceptual readymades – a contemporary artist’s use of a classical work selected as a key point of reference taken out of time – have developed in recent years as part of contemporary art’s appropriation of Greco-Roman statuary. This investigation argues that a contemporary artist’s use of the classical does not represent ‘copies’ but cultural readymades. Contemporary digital and sculptural work foregrounding the classical sheds light on the parallel phenomenon whereby Roman re-interpretations of Greek sculpture may have been equivalent to contemporary classicism. Contemporary case studies featuring digital media, generative art, and sculpture are approached both from the perspective of what they can reveal about contemporary art’s use of the classical and what contemporary art’s use of classical sculpture can suggest about Roman reinterpretations as cultural readymades. Remade as part of contemporary art, classical sculpture is uniquely positioned as an accessible point of reference with which to comment on our own time by concurrently reframing the past.

scholarly journals Case studies of soil in art

SOIL ◽  
2015 ◽  
Vol 1 (2) ◽  
pp. 543-559 ◽  
Author(s):  
C. Feller ◽  
E. R. Landa ◽  
A. Toland ◽  
G. Wessolek
Keyword(s):  
Case Studies ◽  
Contemporary Art ◽  
Western Literature ◽  
Recent Developments

Abstract. The material and symbolic appropriations of soil in artworks are numerous and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in film, architecture, and contemporary art. Case studies focused on painting, installation, and film are presented with the view of encouraging further exploration of art about, in, and with soil as a contribution to raising soil awareness.

Exhibiting Parafictional Artists: Curatorial Approaches to Fiction and Authorship

2021 ◽  
Vol 10 (1) ◽  
pp. 50-71
Author(s):  
Emma Brasó
Keyword(s):  
Case Studies ◽  
Contemporary Art ◽  
Art World ◽  
Curatorial Practice

This article identifies and analyses parafictional strategies in artistic and curatorial practice. By examining exhibitions that have included artists working under fictitious identities from the mid-1990s to the present, I argue that they emerged in response to the conflictual demands of the art world. These case studies have been organized into three categories according to their main curatorial approach: projects in which artists remained anonymous or were asked to produce work under a purposely invented personality; exhibitions that turned the intersection of fiction and authorship into a theme to be researched; and curatorial initiatives that embraced the working logic of fiction in their own methodology. These strategies investigate how authorship, agency, style and self-promotion function in the contemporary art world.

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