scholarly journals Déni et ignorance de l’historicité autochtone dans l’histoire de l’art occidentale

2018 ◽  
Vol 42 (2) ◽  
pp. 30-41
Author(s):  
Jean-Philippe Uzel
Keyword(s):  
Theoretical Analysis ◽  
Art History ◽  
Art World ◽  
Essential Dimension ◽  
Indigenous Art ◽  
Western Art ◽  
Art Historians ◽  
The 1960S

Western art history long refused to recognize the historicity of Indigenous art, seeing it instead as a “primitive” mode of human expression. While the dynamism of Indigenous creation since the 1960s has made such an assertion impossible, the institutional recognition given contemporary Indigenous art in the art world is paradoxically accompanied by a lack of critical and theoretical analysis. Today, there is a genuine ignorance concerning Indigenous conceptions of history — their “regime of historicity”— on the part of Western art historians. This is all the more surprising given the recent “temporal turn” taken by the discipline, which emphasizes the question of mixed temporalities without acknowledging it as an essential dimension of Indigenous art. This paper revisits Western art history’s long-standing denial of the historicity of Indigenous art, and then considers its current disregard for the ways Indigenous art allows different forms of temporality to coexist. The underlying thesis of the essay is that today’s disinterest is, in fact, a prolongation of yesterday’s denial.

Australian Aboriginal Art

Art History ◽  
2020 ◽  
Author(s):  
Greg Lehman ◽  
Susan Lowish ◽  
Ian McLean
Keyword(s):  
Art History ◽  
Cultural Practices ◽  
Rock Art ◽  
Historical Narrative ◽  
Indigenous Australians ◽  
Art World ◽  
Indigenous Art ◽  
Indigenous Australian ◽  
Art Historians ◽  
Aboriginal Art

Outside Australia, “Australian art” is often taken to mean Indigenous art produced in remote regions of the continent, even though Indigenous Australians comprise only 3 percent of the population, and less than 10 percent of this 3 percent live in the remote communities where most of this art is produced. Inside Australia, which is where nearly all histories of Indigenous Australian art are written, the relationship between the categories of Indigenous and Australian art is more complex due to unresolved legacies of colonialism. The category of Indigenous Australian art includes the Melanesian culture of the Torres Strait Islands and the Aboriginal art of mainland Australia, Tasmania, and several other islands. Indigenous art encompasses everything from late Pleistocene rock art to moving image and digital technologies of the contemporary age. It is made in all regions of Australia, from the urban to the remote, and unlike non-Indigenous Australian art, it has great regional variation. Despite long continuous Indigenous cultural practices, there is no recognizable Indigenous art historiographical tradition and until recently art historians showed little interest in retrieving the oral histories of its various schools. This is because the paradigm of primitivism had locked Indigenous art out of the discipline’s underlying assumptions, leaving its study to archaeologists and anthropologists. As the art world critique of primitivism only began to take hold in the 1980s, Indigenous art history is a new field of study in the discipline. Interdisciplinary in its formation, it has drawn significantly from anthropologists, who remain leaders in the study of Indigenous art. Due to their fieldwork approach, anthropologists also led the way in developing methodologies that could account for Indigenous worldviews, which are becoming more prominent in art world discourse, with Indigenous artists, curators, and scholars making an increasingly significant contribution since the 1990s. However, connections with archaeology are poorly developed. While archaeological research into rock art is booming in Australia, it is focused on conventional analysis of dating in order to develop largely speculative historical narratives about the origins of various cultures. This lies outside the main current of Indigenous art history, which has a contemporary focus. Indigenous art history is yet to articulate a substantial historical narrative of its subject. Nevertheless, traditional art history genres such as biography, regional art histories, and issue-based thematic subjects are serving the field well. The place of Indigenous art in the Australian national tradition is an issue with which the discipline is currently grappling. Finally, curators have been important instigators in transforming what had largely been a subject of anthropology into art history. This is reflected in the bibliography, in which exhibition catalogues outnumber scholarly books by art historians.

scholarly journals Art and History, 1969–2019

2020 ◽  
Vol 50 (4) ◽  
pp. 567-586
Author(s):  
Peter Burke
Keyword(s):  
Case Studies ◽  
Art History ◽  
Turning Point ◽  
Art Market ◽  
Half Century ◽  
The Reformation ◽  
Art Historians ◽  
1960S And 1970S ◽  
The 1960S

The 1960s and 1970s marked a turning point in the encounters between generalist historians and art historians regarding the study of art. Before that moment, art history, from its very inception as an independent department in universities, had been entirely distinct from the discipline of generalist history. However, three case studies—art and the Reformation, the rise of the art market, and the proliferation of political monuments—reveal the convergence between the two disciplines that has unfolded during the last half-century, culminating in recent discussions of agency and attempts to answer the question, What is Art?

Approaching the Mughal Past in Indian Art Criticism: The case of MARG (1946 –1963)

2012 ◽  
Vol 47 (1) ◽  
pp. 167-203
Author(s):  
DEVIKA SINGH
Keyword(s):  
Cultural Identity ◽  
Art History ◽  
Art Criticism ◽  
Art Journal ◽  
Art Historians ◽  
History Of ◽  
The 1960S ◽  
Art And Architecture ◽  
Indian Art ◽  
Contemporary Artists

AbstractThe paper examines the model value of the Mughal period in MARG, the leading art journal of 1940s and 1950s India. It combines a discussion of some of the key historiographical questions of Indian art history and the role played by specific art historians, including European exiles who were among the contributors to the journal, with broader questions on the interaction of national cultural identity with global modernism. In this context, the Mughal period—celebrated in MARG for its synthesis of foreign and indigenous styles—was consistently put forward as an example for contemporary artists and architects. From its inception in 1946 until the 1960s the review favoured a return to the spirit of India's prestigious artistic past, but not to its form. Its editorials and articles followed a clearly anti-revivalist and cosmopolitan line. It aimed at redressing misunderstandings that had long undermined the history of Indian art and surmounting the perceived tensions in art and architecture between a so-called Indian style and a modern, international one.

scholarly journals L’Imagination au pouvoir: historia sztuki w czasach kryzysu lat 60./70

2019 ◽  
pp. 399-413
Author(s):  
Andrzej Turowski
Keyword(s):  
Art History ◽  
Cultural Theory ◽  
Academic Discipline ◽  
Theoretical Background ◽  
New Developments ◽  
Critical Thought ◽  
Academic Knowledge ◽  
Art Historians ◽  
The 1960S ◽  
The University

The present paper is reminiscence and an attempt to reconstruct the intellectual heritage of art history as it was practiced at the University of Poznań in the late 1960s and throughout the 1970s in the context of new developments in cultural theory and changing research interests. Besides, it includes the author’s account of his own academic work in that period, began in the 1960s and inspired in particular by the year 1968 that brought a social crisis and a cultural revolution, as well as introduced the element of imagination into academic knowledge and critical thought. The author draws a wide panorama of intellectual stimuli which contributed to an epistemic and methodological turn, first in his own scholarly work and then in the work of some other art historians in Poznań. Those turns opened art history at the University of Poznań to critical reading of artistic practices approached in relation to other social practices and subjects of power. As a result, four key problems were addressed: (1) the position of contemporary art in research and teaching, (2) the necessity to combine detailed historical studies with critical theoretical reflection, (3) the questioning of genre boundaries and ontological statuses of the objects of study and the semantic frames of the work of art, and finally, in connection to the rise of an interdisciplinary perspective, (4) the subversion of the boundaries and identity of art history as an academic discipline. Then the author reconstructs the theoretical background of the “new art history” that emerged some time later, drawing from the writings of Walter Benjamin, the French structuralism, Theodor Adorno’s aesthetic theory, and Louis Althusser’s interpretation of the concept of ideology. Another important problematic was the avant-garde art of Poland and other East-Central European countries, studiedin terms of artistic geography and the relations between the center and periphery. The conclusion of the paper presents a framework marked with the names of Aby Warburg and Max Dvořák, which connected the tradition of art history with new developments, took under consideration the seminal element of crisis, and allowed art historians to address a complex network of relations among the artist’s studio, the curator’s practice, the scholar’s study, and the university seminar, as well as the West, the Center, and the East. At last, the author remembers the revolutionary, rebellious spirit and the lesson of imagination that the Poznań art history took from March and May, 1968.

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>

BREAKING THE INK – ABSTRACT INK ART IN MAINLAND CHINA

2021 ◽  
Author(s):  
Daniela Zhang Cziráková
Keyword(s):  
Art History ◽  
Mainland China ◽  
High Standard ◽  
Abstract Art ◽  
Chinese Art ◽  
Art World ◽  
New Wave ◽  
Abstract Painting ◽  
Avant Garde ◽  
The 1960S

Chinese art is mostly presented at foreign exhibitions from a different perspective and abstraction is represented modestly or completely absent. However, abstract art, which to a greater or lesser extent based on the roots of Chinese semi-abstract tradition, finds its firm place in the works of Chinese artists in different countries or regions. After giving a fundamental analysis of the possible inspiration for abstract ink painting from Chinese art history, and modernist art movements in Taiwan and Hong Kong during the 1960s, which had a significant influence on the formation of modernism in mainland China, and the historical overview of Chinese avant-garde, such as the 85 New Wave, the author focusses on abstract ink art in mainland China. As far as the situation in abstract painting is concerned, all important movements, exhibitions are preceded chronologically. Artists' opinions on abstract painting, their contradictions and the questions that this work raises, are observed, too. Abstract ink painting began to develop with the influx of ideas of modernism in the 1980s, and it was in important factor during the movement of Experimental ink and wash movement in the 1990s and the first decade of the 21st century. This movement has organised exhibitions, conferences, publishes catalogues dedicated to the work of its representatives. Then the attention turns to other movements and individual artists devoted to abstract ink art. Some of the artists come to a greater extent from tradition; others try to escape the limitations of ink painting, more or less adhere to traditional Chinese art or calligraphic strokes and techniques. Some of them are more influenced by Western techniques or are attempting to synthesise. What is essential is that they create works that are often of a high standard and in their search, open new ways for Chinese ink painting in general. Special attention deserves the artists standing at the birth of the movement and to those who have so far significantly influenced the whole atmosphere in Chinese art world.

The Biblioteca Berenson at Villa I Tatti

2008 ◽  
Vol 33 (1) ◽  
pp. 5-9 ◽  
Author(s):  
Michael Rocke
Keyword(s):  
20Th Century ◽  
Art History ◽  
Historical Research ◽  
Italian Renaissance ◽  
Renaissance Studies ◽  
Art Historians ◽  
The 1960S ◽  
Personal Library

Although it began as the personal library of one of the most influential art historians and connoisseurs of the last century, the Biblioteca Berenson now has a broad interdisciplinary scope that goes far beyond art and art history. As the library of Harvard University’s Center for Italian Renaissance Studies since the 1960s, it has become a major resource for research into all aspects of the society, culture and thought of Italy between about 1200 and 1650. Nonetheless the Berenson Library offers rich and often unique resources for art historical research, both on the Renaissance and on the 20th century.

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>

Museum Without Walls, Art History Without Names

2013 ◽  
pp. 251-278 ◽  
Author(s):  
Lev Manovich
Keyword(s):  
Twentieth Century ◽  
Feature Extraction ◽  
Theoretical Analysis ◽  
Digital Media ◽  
Information Visualization ◽  
Art History ◽  
Art Historians ◽  
Recent Developments ◽  
Visualization Techniques

This article appears in the Oxford Handbook of Sound and Image in Digital Media edited by Carol Vernallis, Amy Herzog, and John Richardson. The essay presents the theoretical analysis of key conceptual steps involved in generating visualizations of media artifacts and large collections of these artifacts. These steps and associated concepts are “data,” “metadata,” “feature extraction,” “information visualization,” “media visualization,” “mapping” and “remapping.” The essay first briefly reviews recent developments in visualization techniques. Next, it discusses the key conceptual steps that take us from artifacts to visualizations. As illustrations, the essay uses selected visualizations created in the author’s lab softarestudies.com. The last section summarizes the discussion and links the new possibilities opened up by use of visualization of large visual collections to the relevant concepts developed by earlier twentieth-century art historians—Heinrich Wölfflin’s “Art History Names” and André Malraux’s “Museum without Walls.”

Indigenous Modernisms

2018 ◽  
Author(s):  
Ian McLean
Keyword(s):  
20Th Century ◽  
Landscape Painting ◽  
Indigenous Art ◽  
Western Art ◽  
Multiple Modernities ◽  
Auction Houses ◽  
Arnhem Land ◽  
Central Australia ◽  
Indigenous Perspective ◽  
The 1960S

Indigenous modernism is not to be confused with earlier ideas of modern Indigenous art, though they do to some extent pre-empt it. In the mid-20th century, some Indigenous artists who made or responded to Western art forms were referred to as modern. For example, in 1952 the Namatjira School of landscape painting in Central Australia was dubbed modern Aboriginal art, while Ulli Bieir made similar claims about African artists in the late 1950s and 60s. In the 1960s and 70s, emerging interest in non-traditional and tourist Indigenous art resulted in scholars and auction houses applying the terms modern and contemporary to distinguish such art from traditional works. However, the concept of Indigenous modernism applies to Indigenous art in general, whether considered traditional or not. For example, bark paintings from Arnhem Land originally valued and collected as primitive art have recently been interpreted as forms of Indigenous modernism. The term Indigenous modernism, then, refers not to art that emulates Western modernisms, but to art that engages with experiences of modernity from an Indigenous perspective—a notion with profound consequences for how modernism is generally conceived and theorized. In particular, it challenges stylistic and classical accounts of modernism, and the center/periphery model of modernism. These challenges, arising from theories of alternative and multiple modernities more generally, have created new interests in modernism, but have yet to be theoretically worked through.

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