Ibridazione, corpi e media. Pratiche artistiche del video in Italia negli anni Ottanta

2019 ◽  
Vol 6 (1) ◽  
Author(s):  
Francesco Spampinato
Keyword(s):  
Visual Culture ◽  
Contemporary Art ◽  
Music Videos ◽  
Personal Computers ◽  
Computer Art ◽  
Artistic Production ◽  
Production Distribution ◽  
Previous Decade ◽  
New Generation ◽  
Media Practices

Historians and theorists of Italian art have usually dealt with the Eighties with sufficiency, reading it through the lens of disengagement and focusing on painting movements based on the return to manual expression and expressionist figuration, interpreted as a reaction to the conceptual practices that dominated the previous decade. Actually, painting represents only a small part of Italian artistic production in the postmodern era, a production whose peculiarity—and this is undoubtedly one of the reasons for the short-sighted historical reading of the period—consists in its being transdisciplinary. Indeed, in those years, a new generation of artists and cultural producers experimented with performative and media practices, moving with ease from the field of contemporary art to those of theater, television, music, design and visual communication. The use of audiovisual technologies, both video and personal computers, which saw mass diffusion in the 1980s, represents the trait d’union between these practices. Adopting an approach between the historical and the phenomenological, the article offers an "overview" of the artistic practices of video in Italy in the 1980s, articulating its discussion around three interpretative lines connected to the ideas of: hybridization, body and media. The article opens with some art-historical considerations. It then continues with an outline of the international artistic situation and references to post-modernist theories and the visual culture of the decade. Some typologies of experimental video practices in Italy are then outlined: video sculptures and installations; the relationships between video and theater; between video and design; between video and television; music videos; and computer art. The final part is dedicated to the capillary Italian network of production, distribution and fruition of video, which includes distributors, exhibition spaces, festivals and magazines. The article closes with some reflections on the evolution of the classification and historicization criteria in light of the most recent studies of visual culture.

Axis: broadening the constituency and extending the sphere of influence of visual art

1998 ◽  
Vol 23 (2) ◽  
pp. 8-11
Author(s):  
Doug Sandle
Keyword(s):  
Visual Culture ◽  
Contemporary Art ◽  
Visual Arts ◽  
Visual Art ◽  
Information Resource ◽  
Text Data ◽  
Widening Access ◽  
Visual Text ◽  
Sphere Of Influence ◽  
National Information

The Axis database is the only national information resource on British artists and craftmakers. It contains visual-text data on over 2,500 contemporary British practitioners and is a rapidly growing source of data for researchers, students, curators, commissioning agents, architects, planners and patrons and purchasers of visual arts. Axis also has an important national role in promoting contemporary art and artists and widening access to visual culture.

scholarly journals Issue of Integrity of Art Education in the Context of Changes in Art and Visual Culture

Pedagogika ◽  
2014 ◽  
Vol 114 (2) ◽  
pp. 167-179
Author(s):  
Edita Musneckienė
Keyword(s):  
Visual Culture ◽  
Art Education ◽  
Contemporary Art ◽  
Cultural Context ◽  
Arts Education ◽  
New Technologies ◽  
Thinking Skills ◽  
Education Programs ◽  
Creative People ◽  
Wide Range

This article examines a paradigmatic change of contemporary art education in the context of visual culture and focus to the integrity of arts in formal and informal art education. The article is based on an international research “Contemporary art and visual culture in education” which reveals the problematic aspects of contemporary arts and visual culture in education in general. The research method was the discourse analysis of the participants and researchers, who presented the insights in reflective groups and during the interview with teachers and educators.This paper explores how contemporary cultural context and the spread of visual culture provide preconditions for changes in art education. The aim of the article is to analyze theproblems and perspectives of integral arts education in formal and non-formal education: what the educational challenges and opportunities appear in the context of contemporary art and visual culture? How the integral arts could be realized in art education practice in different arts disciplines and areas of education?Contemporary art and visual culture is increasingly multidimensional, the wide range of visual art forms integral with per formative arts, new technologies and media merge the limits between the arts disciplines. That becomes relevant pedagogical problem with the fact that arts education is traditionally allocated to the separate arts subjects such as music, art, theatre, dance, which also can also be divided into separate areas. This subject segregation of the school curriculum and strong subject orientation limits multimodal contemporary arts education. Secondary Education programs provide opportunities for several options of arts education disciplines (photography, cinema art, graphic design, contemporary music technologies), but it needs special resources for the schools and professional teachers. Many schools follow on traditional model of teaching art and still focusing on simple interpretation of modern artworks, different media and technical skills.Contemporary model of teaching integrated arts and visual culture in education is challenging, because it is based on visual literacy and critical thinking skills, it emphasizes inquiry-based education, a critical understanding of contemporary art practices, problem solving and creating new valuable ideas. Knowledge and experiences came from various sources: formal, non-formal, accidental, individual.Great potential for contemporary art education has non-formal art education programs and projects. Successful project-based initiatives in art education have been excellent examples of arts integration.Artists and other creative people involved into a process of education, their collaboration with schools and communities could initiate some interdisciplinary and collaborative practices. Non-formal arts education environment creates more space for creativity, freedom and diversity. Additional arts education programs, museum and gallery education, artistic competitions and international projects allows for the wider development of arts education. Art education in the new age requires changing attitudes towards learning and teaching, changing roles of the educator and new learning environments.

Heide Circle

2018 ◽  
Author(s):  
Richard Haese
Keyword(s):  
Contemporary Art ◽  
Early Phase ◽  
Institutional Support ◽  
Second Phase ◽  
Avant Garde ◽  
Art Collectors ◽  
Art And Literature ◽  
Post War ◽  
New Generation

The group of avant-garde Australian artists and their supporters, now identified as the Heide Circle, evolved over three decades, from the pioneering modernism of the early 1930s through the post-war era of the mid-1960s. These Melbourne-based artists constituted the essential core of radical Australian modernism; the early phase including, most notably, Sidney Nolan, Albert Tucker, Arthur Boyd, John Perceval, and the Russian-born émigré Danila Vassilieff. The work of these pioneering artists demonstrated a highly original antipodean response to European expressionist, cubist, and surrealist movements, together with a new fascination with untutored and naïve art. The group shared personal and institutional support from the art collectors and patrons John and Sunday Reed, whose semi-rural home called ‘‘Heide‘‘ on the outskirts of Melbourne became the focus of the movement. In 1938, the Reeds spearheaded the establishment of the Contemporary Art Society (CAS) in order to promote the modernist movement in Australian art. Along with the young poet Max Harris, the Reeds also began publishing the key cultural journal Angry Penguins, which was dedicated to championing radical art and literature. These initiatives eventually collapsed in 1947. However, the revival of the CAS in 1953 initiated a second phase of the Heide circle, together with a new generation of artists.

scholarly journals “The most passionate cover I’ve seen”: emotional information in fan-created U2 music videos

2016 ◽  
Vol 72 (3) ◽  
pp. 569-590 ◽  
Author(s):  
Diane Rasmussen Pennington
Keyword(s):  
Information Retrieval ◽  
Expressed Emotion ◽  
Information Science ◽  
Music Videos ◽  
Visual Content ◽  
Emotional Information ◽  
Content Type ◽  
Socially Constructed ◽  
Information Retrieval Systems ◽  
New Generation

Purpose – The purpose of this paper is to explore how both producers and consumers of user-created music videos on YouTube communicate emotional information. Design/methodology/approach – In total, 150 filmic documents containing fan-generated versions of U2’s “Song for Someone” were purposively collected. The author used discourse analysis to understand the types of videos created, the communication of emotional information from both the producers and the consumers, the social construction of emotion in the filmic documents, and elements of intertextuality that represented emotion. Findings – Fans created videos containing cover versions, original versions of the song with new visual content, and tutorials about how to play the song. Producers of cover versions communicated emotional information, especially tenderness, through facial expression, their surroundings, and corresponding musical elements. Producers’ visual content expressed emotion through meaningful photographs and sad stories. Producers’ descriptions revealed emotion as well. Emotions were individually experienced and socially constructed. Consumers conveyed emotion through likes, dislikes, and expressive positive comments. Intertextuality communicated passion for U2 through tour references, paraphernalia displays, band photographs, imitating the band, and musical mashups. Practical implications – Information science can work towards a new generation of multimedia information retrieval systems that incorporate emotion in order to help users discover documents in meaningful ways that move beyond keyword and bibliographic searches. Originality/value – This is one of the earliest research papers in the area of emotional information retrieval (EmIR).

Roots, Routes, RUTAS

2020 ◽  
Vol 40 (1-2) ◽  
pp. 27-41
Author(s):  
Natalie Alvarez
Keyword(s):  
Latin America ◽  
Latin American ◽  
Critical Role ◽  
Mass Gathering ◽  
Performance History ◽  
Structural Shift ◽  
Artistic Production ◽  
Cultural Exchanges ◽  
Coalitional Politics ◽  
New Generation

In this article, author Natalie Alvarez examines how the Caminos and RUTAS festivals of Toronto’s Aluna Theatre harness the interactional, mass gathering of the festival and its high visibility to form a theatrical commons grounded in a heterogeneous and intercultural Americas, one that includes Latin American, Latinx, Indigenous, and Afro-Caribbean artists that have historically been excluded both from the Eurocentric vision of “Latin America” and Canadian performance histories. With a producing mandate to foster Canadian-hemispheric cultural exchanges, Beatriz Pizano’s and Trevor Schwellnus’s curatorial practices aim to generate alternate genealogical routes of Canadian performance history for a new generation of artists to travel. The performance routes of these festivals speak to the critical role festivals can play in directing—and redirecting—transnational flows of knowledge and artistic production. But Pizano and Schwellnus’s curatorial aims are also driven by an interest in how festivals like RUTAS and Caminos can generate a structural shift in the kinds of artistic traditions that are sustained on Toronto’s stages and the ways in which they are sustained by fostering hemispheric collaborations and co-productions. The RUTAS and Caminos festivals demonstrate very powerfully the work that a theatrical commons can do to advance alternative producing structures and transnational coalitional politics.

Taxidermy as a Cultural Object: Notes on Preservation, Death and Art

2020 ◽  
pp. 59-65
Author(s):  
Montse Morcate
Keyword(s):  
New York ◽  
New York City ◽  
Contemporary Art ◽  
York City ◽  
Academic Research ◽  
Central Element ◽  
Cultural Object ◽  
The Aesthetic ◽  
New Generation

This essay, based on academic research on the representation of death, grief and science, deals with the new resurgence of taxidermy in New York City, where a new generation of artists and artisans explore the aesthetic and ethical limits of this practice. As taxidermy deals with lifeless bodies of animals it becomes a delicate issue for many, in which the central element of debate would be around the legitimacy of using the corpse of an animal and the need for preserving or exhibiting it. Different perspectives of this practice are analysed by means of classical taxidermy, the anthropomorphic style or contemporary art based on taxidermy practises, in order to address questions such as: Is ethical taxidermy possible? Is commemorative taxidermy of a beloved pet acceptable? Why does taxidermy appeal or disgust? Is taxidermy controversial just because it questions the limits of life, death and decay? What is the contribution of the new generation of taxidermists? Keywords: art, death, New York City, preservation, taxidermy

A Glut Of Faces

Public ◽  
2020 ◽  
Vol 30 (60) ◽  
pp. 142-155
Author(s):  
Kristina Fiedrich
Keyword(s):  
Visual Culture ◽  
Contemporary Art ◽  
Social Order ◽  
Facial Recognition ◽  
Art Practices ◽  
Visual Expression ◽  
The Face ◽  
The Subject ◽  
Singular Representation ◽  
Increasing Trends

The face is a bodily surface that visually, historically and politically locates identity. Under the scrutiny of facial recognition and biometric software, the face can take the place of a whole identity, becoming a rigid singular representation. This paper draws connections between the increasing trends in surveillance and biometric technologies, and their manifestation within contemporary art practices. Specifically, I look to artworks that engage traditional portraiture and representations of the face, all the while manipulating expectations of the face-as-portrait. Artworks included in this project are Ursula Johnson’s L’nuweltik (We are Indian), Gillian Wearing’s Self Portrait at Twenty Seven Years Old and Anthony Cerniello’s Danielle. How has the face come to be represented in contemporary portraiture, and might these representations suggest a shifting logic of identity, away from the face? Art as visual expression is considered in relation to surveillance as another outcome of visual culture that highlights a continuing desire to categorize the subject within a social order.

scholarly journals Audio Guides for Digital Archives

2021 ◽  
Vol 21 (2) ◽  
Author(s):  
Kate Holterhoff
Keyword(s):  
Visual Culture ◽  
Digital Humanities ◽  
Multimodal Communication ◽  
Personal Computers ◽  
Digital Archives ◽  
Culture Studies ◽  
Visual Culture Studies

There has never been a better time to create audio content than the present. Not only do most personal computers come with audio software like GarageBand (OSX) and VoiceRecorder (Win) already installed, free programs such as Audacity and LMMS can be readily downloaded online. This has opened up a variety of new project opportunities for instructors eager to incorporate digital humanities concepts and ideas into their classrooms. In multimodal communication courses foregrounding history, archive, and visual culture studies, the form of the audio guide offers a useful medium for students to create inventive and theoretically rigorous projects.

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