Gerakan Seni Rupa Baru

2018 ◽  
Author(s):  
Christine Clark
Keyword(s):  
Contemporary Art ◽  
Next Generation ◽  
Political Consciousness ◽  
Art Making ◽  
Found Objects

Gerakan Seni Rupa Baru (GSRB—New Art Movement) was an art movement that emerged in Indonesia in the mid-1970s. GSRB was established during a period when younger artists had become dissatisfied with the lack of social and political consciousness in art, coupled with the perceived arrogance of power endemic at institutional and state levels in Indonesia. From the mid-1970s the movement instigated new contemporary art discourse and re-defined art making in Indonesia. GSRB continued to gain momentum in the latter half of the 1970s, issuing a publication in 1978, organizing exhibitions in various Indonesian cities from 1975 to 1979 and in the mid-1980s, and involving an increasing number of artists in the movement, among whom Jim Supangkat, FX Harsono, Dede Eri Supria, Nyoman Nuarta, S. Prinka, Wagiono Sunarto, and Bachtiar Zailoel were prominent members. These artists experimented with found objects, installation, and ready-mades, largely addressing conceptual approaches in their making. GSRB articulated a new path for practice; its spirit of experimentation and opposition inspired, influenced, and laid a foundation for the next generation of artists in Indonesia.

Found Objects, Bought Selves

2015 ◽  
pp. 140-161
Author(s):  
Lynne Heller
Keyword(s):  
Virtual Environment ◽  
Contemporary Art ◽  
Second Life ◽  
Artistic Practice ◽  
Art Making ◽  
Found Objects ◽  
Political Tactics ◽  
Material Practice ◽  
Found Object

This chapter traces a process of creating using found object collage, through collecting/consuming practices and finally to the notion of the bought self, avatar representation through consumerist artistic practice in Second Life (SL) the online, user generated, virtual environment. Positioning collage as a reinvigorated current in art, the text couples this mode of making with shopping as found object. Collaboration is inherent in an online virtual world, where programmers, designers and other content providers determine the parameters of what is possible. Found object/shopping is a synergistic fit with the nature of predetermined boundaries coupled with late-stage capitalism. This mode of self-making encourages the idea of buying identification through the construction of an avatar. Through a review of the practices of the Situationists, an aesthetic turn in political tactics is revealed through contemporary art making. The text uses the author's own virtual/material practice as a case study for the theories explored.

scholarly journals Authenticity in Transition: Changing Practices in Contemporary Art Making and Conservation

2016 ◽  
Vol 9 ◽  
Author(s):  
Silvia García Fernández-Villa
Keyword(s):  
Contemporary Art ◽  
Art Making ◽  
Changing Practices

Authenticity in Transition: Changing Practices in Contemporary Art Making and ConservationErma Hermens, Frances Robertson (eds) (2016)Archetype PublicationsPáginas: 205ISBN: 9781909492363 

Le Musée d’Art E Pluribus Unum: An Urban Arts Movement in Haiti

2020 ◽  
Author(s):  
Katherine Smith
Keyword(s):  
Cultural Capital ◽  
Installation Art ◽  
Conceptual Art ◽  
Access Networks ◽  
Art World ◽  
Art Making ◽  
Found Objects ◽  
Monetary Value ◽  
Art Collectives ◽  
Urban Arts

The Atis Rezistans (Resistance Artists) are a collective of sculptors based in downtown Port-au-Prince who have founded their own museum. The artists are best known for using found objects and wood to make politically charged works that draw on the imagery of Vodou. Since launching this artistic movement over a decade ago, co-founder André Eugène has referred to his home and atelier as Le Musée d’Art E Pluribus Unum. While art collectives are common in Haitian art, by designating themselves a “museum” the Atis Rezistans have incorporated aspects of conceptual art and installation art into their art movement. They describe the founding of this museum as a strategic appropriation of an institution that has historically belonged to the bourgeoisie. Conversations with Eugène, and other artists in the collective, reveal that they have carefully considered the power of museums: museums imbue certain objects with cultural capital and monetary value; present certain world views through the display of objects; and may offer visitors encounters with human remains. Becoming a museum has allowed Eugène and the other artists to access networks of art world mobility in ways that their artworks alone would not have. This essay offers context for understanding the Atis Rezistans as part of a tradition of art making among Haiti’s majority. It argues that due to their location, their class, and their overt use of Vodou imagery, scholars have overlooked conceptual elements of their movement, specifically how they play with the idea of the museum.

scholarly journals Re/Presenting Artful Pedagogy: Relational Aesthetics in Early Childhood Contemporary Art Experiences

2017 ◽  
Vol 41 (4) ◽  
pp. 4 ◽  
Author(s):  
Maria Iafelice
Keyword(s):  
Young Children ◽  
Art Education ◽  
Contemporary Art ◽  
Relational Aesthetics ◽  
Art Making ◽  
Young Learners ◽  
Art Practices ◽  
Inquiry Curriculum ◽  
New Directions ◽  
Early Learners

<div class="page" title="Page 1"><div class="section"><div class="layoutArea"><div class="column"><p><span>Young children are experts in creating unpredictable </span><span>projects akin to the work of contemporary artists and within contemporary art practices. The author utilized a hybrid method of a/r/tography and action research to reveal the </span><span>relational moments, specifically conversations, collaborative </span><span>art making, and interactions of early learners. Contemporary </span><span>art, specifically as it relates to relational aesthetics, has the </span><span>potential to blend with pedagogy and point to new directions for art education of young children: an artful pedagogy. Art </span><span>created with a relational aesthetic emphasizes and only exists from participation and interactivity. Within the context of classroom experiences, compelling findings surrounding unpredictable projects and young learners as experts are deeply explored. In particular, implications are brought into focus </span><span>for visualizing conversations with young learners through art. The connections of relational aesthetics in art education to artful pedagogy are revealed through images of conceptual work by young learners and blurry photographs. Interpreting relational aesthetics with a pedagogical lens led to conclusions that point to an elevated view of the art of young children, a view that reveals the possibilities and further questions for art education that is informed by contemporary art. An artful pedagogy suggests that art education catch up with </span><span>contemporary art and reflect the living inquiry, curriculum, </span><span>and art of the educator and young learners. </span></p></div></div></div></div>

scholarly journals Of Other Places: The Garden as a Heterotopic Site in Contemporary Art

2008 ◽  
Vol 10 (1) ◽  
pp. 60-71
Author(s):  
Melanie Dana Nakaue
Keyword(s):  
Nineteenth Century ◽  
Contemporary Art ◽  
Michel Foucault ◽  
Community Gardens ◽  
Northern Europe ◽  
Early Nineteenth Century ◽  
Found Objects ◽  
Time Space ◽  
Definition Of ◽  
A Site

According to Michel Foucault, a heterotopia is a site where the differentiation between a location and its temporality is related to theoretical and societal concerns that challenge the notion of history, location, and subjectivity. Contemporary artists such as Stan Douglas and Hew Locke utilize the garden as heterotopic space for intervention in their work in order to investigate and challenge linear notions of time, space and subjectivity. Stan Douglas examines the historical and social underpinnings of the community gardens in early nineteenth century Northern Europe, otherwise known as the potsdamer schrebergärten, and recreates the tableau of the garden in his piece, Der Sandman. Similarly, artist Hew Locke draws upon the art of the topiary and creates an assemblage topiary sculpture, titled Black Queen, where found objects are utilized to recontextualize the concept of the garden topiary as a site of a postcolonial experience. This article investigates the way that nature, in this case the garden, is utilized and represented in contemporary art. By analyzing and applying Foucault’s lecture, “Of Other Spaces” and definition of heterotopias to the work of artists such as Douglas and Locke, the paper aims to illuminate the connection between site and subjectivity, and the multiplicity of meaning that results from the garden as being the quintessential site of postmodern experience.

scholarly journals Art, Creativity, and the Potential of Artificial Intelligence

Arts ◽  
2019 ◽  
Vol 8 (1) ◽  
pp. 26 ◽  
Author(s):  
Marian Mazzone ◽  
Ahmed Elgammal
Keyword(s):  
Artificial Intelligence ◽  
Computer Science ◽  
Contemporary Art ◽  
21St Century ◽  
Art History ◽  
Large Scale ◽  
Style Analysis ◽  
Art Making ◽  
Making Art

Our essay discusses an AI process developed for making art (AICAN), and the issues AI creativity raises for understanding art and artists in the 21st century. Backed by our training in computer science (Elgammal) and art history (Mazzone), we argue for the consideration of AICAN’s works as art, relate AICAN works to the contemporary art context, and urge a reconsideration of how we might define human and machine creativity. Our work in developing AI processes for art making, style analysis, and detecting large-scale style patterns in art history has led us to carefully consider the history and dynamics of human art-making and to examine how those patterns can be modeled and taught to the machine. We advocate for a connection between machine creativity and art broadly defined as parallel to but not in conflict with human artists and their emotional and social intentions of art making. Rather, we urge a partnership between human and machine creativity when called for, seeing in this collaboration a means to maximize both partners’ creative strengths.

scholarly journals Affective Iconoclasm: Codes of Labour as a Human Characteristic

2018 ◽  
Vol 1 (1) ◽  
pp. 541-548
Author(s):  
Melissa Gronlund
Keyword(s):  
Social Media ◽  
Contemporary Art ◽  
Art Making ◽  
Economic Productivity ◽  
Western Art ◽  
History Of ◽  
Image Production ◽  
Racial Hierarchies ◽  
Human Characteristic

Abstract This text argues that a number of recent works of contemporary art have developed an anthropomorphised code to signal “humanness.” Primary within this code is representations of labour, which the artworks connect to mimetic or realist stylisation as well as to the history of image production and often specifically Western art-making. It elaborates this thesis with regards to recent videos by Pierre Huyghe and Sidsel Meineche Hansen, and at a critique of social media labour in a lecture-performance by Jesse Darling, which all draw a link between human and non-human subjectivities and economic productivity. In focusing on different examples of nonhuman likenesses, the text also uses primatology to suggest that the colonial relationship between labour and species and racial hierarchies continues to colour representations of labour today.

scholarly journals artscanada’s "Black" Issue: 1960s Contemporary Art and African Liberation Movements

2012 ◽  
Vol 36 (4) ◽  
Author(s):  
Krys Verrall
Keyword(s):  
African American ◽  
Mass Media ◽  
Contemporary Art ◽  
Black Power ◽  
Racial Politics ◽  
Art Making ◽  
Greenwich Village ◽  
The Arts ◽  
Art Practices ◽  
Subsequent Publication

ABSTRACT In August 1967, as the slogan Black Power burst the confines of African American subcultures and global anti-colonial movements began to circulate prominently within mainstream mass media, seven men from two countries met via a transnational telephone connection to talk about the colour black. Their conversation, and its subsequent publication in the arts journal artscanada’s October 1967 issue titled “Black,” provides this article’s focus. While the thematic issue indexes a rare intersection between elite art and racial politics, and while it is unlikely that any of these representatives of innovative contemporary art practices intimate with the radical countercultures of Greenwich Village and Yorkville saw any cloying taint of bigotry compromise their views about art and art-making, the issue nonetheless enforces covert racism sustained by ideologies of Whiteness. The result is that rather than embracing creative expression associated with black, Black-as-race is construed as alien to contemporary art’s mise-en-scène.RÉSUMÉ En août 1967, quand le slogan « Black Power » se fait entendre au-delà des subcultures afro-américaines et les principaux médias commencent à couvrir les mouvements anti-impérialistes mondiaux, sept hommes vivant dans deux pays, par l’intermédiaire d’un lien téléphonique interurbain, ont eu une échange sur la couleur noire. Cet article porte sur cette conversation et sa publication ultérieure en octobre 1967 dans un numéro de la revue artscanada intitulé « Black ». Ce numéro thématique est l’occasion d’une rare intersection entre l’art d’élite et la politique raciale. Il est peu probable que ces représentants de pratiques innovatrices d’art contemporain, avec leur connaissance intime des contrecultures radicales de Greenwich Village et de Yorkville, aient été conscients d’avoir exprimé des préjugés à l’égard de l’art et de la création artistique. Pourtant, le numéro comporte des exemples de racisme implicite soutenu par une idéologie favorisant la blancheur. En conséquence, plutôt que de reconnaître l’expression créative associée à ce qui est noir, les interlocuteurs traitent le noir en tant que race étrangère par rapport à l’art contemporain.

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