scholarly journals Curatorial Practice as Production of Visual & Spatial Knowledge: Panel Discussion, October 4, 2014

2015 ◽  
Vol 4 ◽  
pp. 143-157
Author(s):  
Nicole Scalissi ◽  
Alison Langmead ◽  
Terry Smith ◽  
Dan Byers ◽  
Cynthia Morton
Keyword(s):  
Contemporary Art ◽  
Panel Discussion ◽  
Spatial Knowledge ◽  
Digital Data ◽  
Carnegie Museum ◽  
University Of Pittsburgh ◽  
Visual Spatial ◽  
History Of Art ◽  
History Of ◽  
Art And Architecture

The following is a transcription of a conversation between curators of art, science, and digital data about how their practice creates knowledge in their respective fields. Drawn from Pittsburgh’s rich institutional resources, the panelists include Dan Byers, (then) Richard Armstrong Curator of Contemporary Art, Carnegie Museum of Art; Dr. Alison Langmead, Director, Visual Media Workshop, Department of History of Art and Architecture, and Assistant Professor, School of Information Scienes, University of Pittsburgh; Dr. Cynthia Morton, Associate Curator of Botany, Carnegie Museum of Natural History; and Dr. Terry Smith, Andrew W. Mellon Professor of Contemporary Art History and Theory, University of Pittsburgh. Moderated by Nicole Scalissi, PhD candidate, Department of History of Art and Architecture, University of Pittsburgh. The panel took place as a part of Debating Visual Knowledge, a symposium organized by graduate students in Information Science and History of Art and Architecture at the University of Pittsburgh, October 3-5, 2014. The transcription has been edited for clarity.Curatorial Practice as Production of Visual & Spatial Knowledge

scholarly journals Curatorial Practice as Production of Visual and Spatial Knowledge: Panelists Respond

2015 ◽  
Vol 4 ◽  
pp. 158-163
Author(s):  
Alison Langmead ◽  
Dan Byers ◽  
Cynthia Morton
Keyword(s):  
Graduate Students ◽  
Information Science ◽  
Spatial Knowledge ◽  
University Of Pittsburgh ◽  
Visual Knowledge ◽  
Curatorial Practice ◽  
History Of Art ◽  
History Of ◽  
The University ◽  
Art And Architecture

Three participants in the panel “Curatorial Practice as Production of Visual and Spatial Knowledge” reflect upon the ideas raised in their discussion about curating, both in their respective fields and as a general practice. The panel was a part of Debating Visual Knowledge, a symposium organized by graduate students in Information Science and History of Art and Architecture at the University of Pittsburgh, October 3–5, 2014. A transcription of the panel is available in this issue. 

scholarly journals Contemporary Art: World Currents in Transition Beyond Globalization

2014 ◽  
Vol 3 ◽  
pp. 163-173 ◽  
Author(s):  
Terry Smith ◽  
Saloni Mathur
Keyword(s):  
Los Angeles ◽  
Contemporary Art ◽  
Associate Professor ◽  
Art World ◽  
University Of Pittsburgh ◽  
History Of Art ◽  
History Of ◽  
October 17 ◽  
The University ◽  
Art And Architecture

An edited transcript of a colloquium between Terry Smith, Mellon Professor of Contemporary Art History and Theory at the University of Pittsburgh, and Saloni Mathur, Associate Professor of the History of Art, University of California, Los Angeles, held at the Department of the History of Art and Architecture, University of Pittsburgh, on October 17, 2012.

scholarly journals Data (after)Lives at the University of Pittsburgh: A Constellations Exhibition in the University Art Gallery

2017 ◽  
Vol 6 ◽  
pp. 36-42
Author(s):  
Alison Langmead ◽  
Paulina Pardo Gaviria
Keyword(s):  
Digital Humanities ◽  
Visual Media ◽  
Exceptional Group ◽  
Art Gallery ◽  
University Of Pittsburgh ◽  
Research And Teaching ◽  
History Of Art ◽  
History Of ◽  
The University ◽  
Art And Architecture

This brief essay presents the exhibition Data (after)Lives, which was held in the University Art Gallery at the University of Pittsburgh from September 8 to October 14, 2016. This show was the culmination of a year’s work between the Department of History of Art and Architecture (HAA) and several outside collaborators. It was produced within the Constellations model of research and teaching that is fundamental to the workings of the HAA department as well as to the Visual Media Workshop, the digital humanities lab directed by Alison Langmead (https://haa.pitt.edu/visual-media-workshop), the lead curator of Data (after)Lives. This essay gathers together a few texts produced for the exhibition and presents the experience of working on the show, which was produced by an exceptional group of people, all of whom brought fantastic insight and energy to the project. The online exhibition of Data (after)Lives: The Persistence of Encoded Identity is currently on view at the University Art Gallery website (http://uag.pitt.edu).

Le fonti, i metodi e le narrazioni della storia della videoarte in Italia negli anni Settanta

2017 ◽  
Vol 2 (1) ◽  
Author(s):  
Lisa Parola
Keyword(s):  
Comparative Study ◽  
Contemporary Art ◽  
Narrative Structure ◽  
Video Art ◽  
Wide Range ◽  
History Of ◽  
Selection For ◽  
The Many ◽  
Art And Architecture ◽  
Selection Of

This essay derives from the primary need to make order between direct and indirect sources available for the reconstruction of the history of video art in Italy in the seventies. In fact, during the researches for the Ph.D. thesis it became clear that in most cases it is difficult to define, in terms of facts, which of the different historiographies should be taken into consideration to deepen the study of video art in Italy. Beyond legitimate differences of perspectives and methods, historiographical narratives all share similar issues and narrative structure. The first intention of the essay is, therefore, to compare the different historiographic narratives on Italian video art of the seventies, verifying their genealogy, the sources used and the accuracy of the narrated facts. For the selection of the corpus, it was decided to analyze in particular monographic volumes dealing with the history of the origins of video art in Italy. The aim was, in fact, to get a wide range of types of "narrations", as in the case of contemporary art and architecture magazines, which are examined in the second part of the essay. After the selection, for an analytical and comparative study of the various historiography, the essay focuses only on the Terza Biennale Internazionale della Giovane Pittura. Gennaio ’70. Comportamenti, oggetti e mediazioni (Third International Biennial of Young Painting. January '70. Behaviors, Objects and Mediations, 1970, Bologna), the exhibition which - after Lucio Fontana's pioneering experiments - is said to be the first sign of the arrival of videotape in Italy (called at the time videorecording), curated by Renato Barilli, Tommaso Trini, Andrea Emiliani and Maurizio Calvesi. The narration given so far of this exhibition appeared more mythological than historical and could be compared structurally to that of the many numerous beginnings that historiographyies on international video art identify as ‘first’ and ‘generative’. In the first part of the essay the 'facts' related to Gennaio ’70, as narrated by historiography on video art, are compared. In the second part the survey is carried out through some of the direct sources identified during the research, with the aim of answering to questions raised by the comparison between historiographies. Concluding, it is important to underline that the tapes containing the videos transmitted have not been found and seem to have disappeared since the ending of the exhibition. Nevertheless, the deepening of the works and documentation transmitted during the exhibition is possible thanks to other types of sources which give us many valuable information regarding video techniques and practices at the beginning of 1970 in Italy.

scholarly journals Iconografía y uso de la orina en la Historia del Arte / Iconography and Use of Urine in the History of Art

2018 ◽  
Vol 5 (2) ◽  
pp. 81-88
Author(s):  
José Antonio Colón Fraile
Keyword(s):  
Contemporary Art ◽  
The Body ◽  
Artistic Expression ◽  
History Of Art ◽  
History Of ◽  
And Gender ◽  
Complex Images

ABSTRACTWe studied how the urinating action and the use of the own urine have been used as an element of artistic expression in different art throughout history disciplines. This tour was organized by subject indexes, from the simplest to the most complex images semiotically. Contemporary art deserved special attention by incorporating the use of the body and its fluids as examples of human fears and obsessions, characterized the appearance of urine by its radicalism and gender affiliation.RESUMENSe estudia cómo se ha representado la acción de orinar y el uso de la propia orina como elemento de expresión artística en las distintas disciplinas a lo largo de la historia del arte. Se estructura este recorrido por índices temáticos, desde las imágenes más simples hasta las semióticamente más complejas, comenzando por la representación de niños que orinan, utilizados en todas las épocas como imagen de lo anecdótico y motivo decorativo para fuentes y jardines. Se continúa por otras imágenes que, aun siendo protagonizadas también por niños, poseen niveles de lectura culturalmente más elevados. Se divide este estudio en dos grandes épocas antagónicas: el mito de la Edad de Oro, estado natural y privilegiado para el ser humano, y el posterior mito de la caída en el que la sexualidad connota el acto de orinar ofreciéndonos nuevas lecturas desde el erotismo, la pornografía y su uso político-propagandístico. 

Veronicas and Artists

2017 ◽  
Keyword(s):  
Contemporary Art ◽  
Religious Images ◽  
The Public ◽  
The Past ◽  
History Of Art ◽  
The Status ◽  
History Of ◽  
The Way ◽  
Contemporary Artists

Chapter One deals with several central issues with regard to understanding the role of religious motifs in contemporary art. Besides being a repetition of imagery from the past, religious motifs embedded in contemporary artworks become a means to problematise not only the way different periods in the history of art are delimited, but larger and seemingly more rigid distinctions as those between art and non-art images. Early religious images differ significantly from art images. The two types are regulated according to different sets of rules related to the conditions of their production, display, appreciation and the way images are invested with the status of being true or authentic instances of art or sacred images. Chapter One provides a discussion of the important motif of the image not made by an artist’s hand, or acheiropoietos, and its survival and transformation, including its traces in contemporary image-making practices. All images are the result of human making; they are fictions. The way the conditions of these fictions are negotiated, or the way the role of the maker is brought to visibility, or concealed, is a defining feature of the specific regime of representation. While the cult image concealed its maker in order to maintain its public significance, and the later art image celebrated the artist as a re-inventor of the old image, contemporary artists cite religious images in order to reflect on the very procedures that produce the public significance and status of images.

Art and Architecture in France, 1500-1700 (The Pelican History of Art)

1954 ◽  
Vol 36 (4) ◽  
pp. 308
Author(s):  
Fiske Kimball ◽  
Anthony Blunt ◽  
John Summerson
Keyword(s):  
History Of Art ◽  
History Of ◽  
Art And Architecture
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