This essay reconsiders the photomontages that Martha Rosler began making in the late 1960s to protest the war in Vietnam. Typically understood as a means of protest against the spatial mechanics of domination—against the mediated production of the difference between the home front and the war front or the “here” and “there” that drives modern warfare—the photomontages, this essay argues, also engage the temporal politics of protest. The problem of how to be “in time,” “to be present,” the problem that frames street photography and its critical history, is at the center of this essay and, it contends, Rosler’s protest. By drawing out this critical framework, this essay addresses the still-urgent questions that Rosler’s photomontages pose: When is the time of protest? Does protest happen now? Is there still time for protest?
{"title":"Martha Rosler’s Protest","authors":"S. Schwartz","doi":"10.3390/arts9030092","DOIUrl":"https://doi.org/10.3390/arts9030092","url":null,"abstract":"This essay reconsiders the photomontages that Martha Rosler began making in the late 1960s to protest the war in Vietnam. Typically understood as a means of protest against the spatial mechanics of domination—against the mediated production of the difference between the home front and the war front or the “here” and “there” that drives modern warfare—the photomontages, this essay argues, also engage the temporal politics of protest. The problem of how to be “in time,” “to be present,” the problem that frames street photography and its critical history, is at the center of this essay and, it contends, Rosler’s protest. By drawing out this critical framework, this essay addresses the still-urgent questions that Rosler’s photomontages pose: When is the time of protest? Does protest happen now? Is there still time for protest?","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128859541","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article presents an analysis of a collective housing project designed by the architects Emilia Bisquert Santiago, Carmen Gonzalez Lobo, Jose Miguel de Prada Poole and Ricardo Aroca in the Arturo Soria neighbourhood in Madrid in 1975. This project is noteworthy for its architects’ preference for designing flexible and adaptable spaces, both in the interior distribution of the homes spaces and in the common spaces of the building itself. Their main aim was to eliminate the rigid spatial segregation that was a dominant feature of Spanish housing estates promoted by the OSH (House Building Union) during the Franco Regime (1939–1975). To understand this idea, this research proposes a comparison between a Housing Estate promoted by the OSH in 1956 and the Arturo Soria building designed in 1975. The article explains and analyses the different architectural strategies that the architects proposed to achieve that flexibility and adaptability: a permanent structural ‘infrastructure,’ an intermediate architectural system adaptable over time, and finally, a range of possible configurations for the individual dwelling. Another important issue is the relationship between the construction system and alternative development of both horizontal and vertical living space. Explaining this relationship could help shape the habitability of future homes, the development of a sense of community, the possibility of designing for tenancies of different lengths and needs and the management of constant changes to a collective society.
本文分析了1975年由建筑师Emilia Bisquert Santiago、Carmen Gonzalez Lobo、Jose Miguel de Prada Poole和Ricardo Aroca在马德里Arturo Soria社区设计的一个集体住宅项目。这个项目值得注意的是，它的建筑师喜欢设计灵活和适应性强的空间，无论是在家庭空间的内部分布还是在建筑本身的公共空间。他们的主要目的是消除严格的空间隔离，这是佛朗哥政权(1939-1975)期间由OSH(房屋建筑联盟)推动的西班牙住宅区的主要特征。为了理解这个想法，本研究提出了1956年由OSH推广的住宅小区与1975年设计的Arturo Soria建筑之间的比较。这篇文章解释和分析了建筑师提出的不同的建筑策略，以实现灵活性和适应性:一个永久性的结构“基础设施”，一个随着时间的推移而适应的中间建筑系统，最后是一个单独住宅的一系列可能的配置。另一个重要的问题是建筑系统与水平和垂直生活空间的替代发展之间的关系。解释这种关系可以帮助塑造未来住宅的可居住性，社区意识的发展，为不同长度和需求的租约设计的可能性，以及对集体社会不断变化的管理。
{"title":"Rethinking Collective Housing: A Case Study of Spatial Flexibility and Adaptability in Arturo Soria (Madrid, 1975)","authors":"Virginia De Jorge Huertas","doi":"10.3390/arts9030074","DOIUrl":"https://doi.org/10.3390/arts9030074","url":null,"abstract":"This article presents an analysis of a collective housing project designed by the architects Emilia Bisquert Santiago, Carmen Gonzalez Lobo, Jose Miguel de Prada Poole and Ricardo Aroca in the Arturo Soria neighbourhood in Madrid in 1975. This project is noteworthy for its architects’ preference for designing flexible and adaptable spaces, both in the interior distribution of the homes spaces and in the common spaces of the building itself. Their main aim was to eliminate the rigid spatial segregation that was a dominant feature of Spanish housing estates promoted by the OSH (House Building Union) during the Franco Regime (1939–1975). To understand this idea, this research proposes a comparison between a Housing Estate promoted by the OSH in 1956 and the Arturo Soria building designed in 1975. The article explains and analyses the different architectural strategies that the architects proposed to achieve that flexibility and adaptability: a permanent structural ‘infrastructure,’ an intermediate architectural system adaptable over time, and finally, a range of possible configurations for the individual dwelling. Another important issue is the relationship between the construction system and alternative development of both horizontal and vertical living space. Explaining this relationship could help shape the habitability of future homes, the development of a sense of community, the possibility of designing for tenancies of different lengths and needs and the management of constant changes to a collective society.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132779012","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Many scholars view the choral synagogues in the Russian Empire as Reform synagogues, influenced by the German Reform movement. This article analyzes the features characteristic of Reform synagogues in central and Western Europe, and demonstrates that only a small number of these features were implemented in the choral synagogues of Russia. The article describes the history, architecture, and reception of choral synagogues in different geographical areas of the Russian Empire, from the first maskilic synagogues of the 1820s–1840s to the revolution of 1917. The majority of changes, this article argues, introduced in choral synagogues were of an aesthetic nature. The changes concerned decorum, not the religious meaning or essence of the prayer service. The initial wave of choral synagogues were established by maskilim, and modernized Jews became a catalyst for the adoption of the choral rite by other groups. Eventually, the choral synagogue became the “sectorial” synagogue of the modernized elite. It did not have special religious significance, but it did offer social prestige and architectural prominence.
{"title":"Reform or Consensus? Choral Synagogues in the Russian Empire","authors":"V. Levin","doi":"10.3390/arts9020072","DOIUrl":"https://doi.org/10.3390/arts9020072","url":null,"abstract":"Many scholars view the choral synagogues in the Russian Empire as Reform synagogues, influenced by the German Reform movement. This article analyzes the features characteristic of Reform synagogues in central and Western Europe, and demonstrates that only a small number of these features were implemented in the choral synagogues of Russia. The article describes the history, architecture, and reception of choral synagogues in different geographical areas of the Russian Empire, from the first maskilic synagogues of the 1820s–1840s to the revolution of 1917. The majority of changes, this article argues, introduced in choral synagogues were of an aesthetic nature. The changes concerned decorum, not the religious meaning or essence of the prayer service. The initial wave of choral synagogues were established by maskilim, and modernized Jews became a catalyst for the adoption of the choral rite by other groups. Eventually, the choral synagogue became the “sectorial” synagogue of the modernized elite. It did not have special religious significance, but it did offer social prestige and architectural prominence.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131601487","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article considers how Andre De Shields performance in Hadestown (2019), and the musicals Fun Home (2015) and A Strange Loop (2019) can be seen to respond to the present moment and argues that they disrupt heteronormative temporality through queer dramaturgy. It explores musicals that present queer performativity and/or queer dramaturgies, and addresses how they enact queer strategies of resistance through historical materialist critiques of personal biographies. It suggests that to do this, they disrupt the heteronormative dramaturgical time of the musical, and considers how they may enact structural change to the form of the musical. The article carries out a close reading of De Shields’ performance practice, and analyses the dramaturgy of Fun Home and A Strange Loop through drawing on the methodologies of Jose Munoz and Elizabeth Freeman. It considers how they make queer labour visible by drawing on post-dramatic strategies, ultimately suggesting that to varying extents, these musicals offer resistance to the heteronormative musical form.
{"title":"Disrupting Heteronormative Temporality through Queer Dramaturgies: Fun Home, Hadestown and A Strange Loop","authors":"S. Whitfield","doi":"10.3390/arts9020069","DOIUrl":"https://doi.org/10.3390/arts9020069","url":null,"abstract":"This article considers how Andre De Shields performance in Hadestown (2019), and the musicals Fun Home (2015) and A Strange Loop (2019) can be seen to respond to the present moment and argues that they disrupt heteronormative temporality through queer dramaturgy. It explores musicals that present queer performativity and/or queer dramaturgies, and addresses how they enact queer strategies of resistance through historical materialist critiques of personal biographies. It suggests that to do this, they disrupt the heteronormative dramaturgical time of the musical, and considers how they may enact structural change to the form of the musical. The article carries out a close reading of De Shields’ performance practice, and analyses the dramaturgy of Fun Home and A Strange Loop through drawing on the methodologies of Jose Munoz and Elizabeth Freeman. It considers how they make queer labour visible by drawing on post-dramatic strategies, ultimately suggesting that to varying extents, these musicals offer resistance to the heteronormative musical form.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132290555","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
We conducted an experiment to explore the effect on aesthetic judgments influenced by the presence and awareness of the title of the abstract paintings produced by Artificial Intelligence. Fifty-two participants (52 students from the Faculty of Fine Arts) were randomly signed into control and experimental groups. Participants of the control group were asked to rate five abstract paintings created by various artists, while the experimental group also rated the same paintings only differing in the names of the author that they were made by Artificial Intelligence. Consequently, in our research, we adopted Berlyne's psychobiological theory, which focuses on the role of arousal as one of the primary determinants of aesthetic preference. The results suggest that the name of AI on title can function as a novelty and surprising reference to denote performance for our visual arts perception despite the fact that it is not created by AI. However, “complexity,” “interestingness,” and “ambiguity” variables didn’t show any statistic significant. These findings extend past research by demonstrating that title presentation affects the perception of abstract art by the participants.
{"title":"WHAT S IN A NAME EXPERIMENT ON THE AESTHETIC JUDGMENTS OF ART PRODUCED BY ARTIFICIAL INTELLIGENCE","authors":"Khalil Israfilzade","doi":"10.31566/arts.3.011","DOIUrl":"https://doi.org/10.31566/arts.3.011","url":null,"abstract":"We conducted an experiment to explore the effect on aesthetic judgments influenced by the presence and awareness of the title of the abstract paintings produced by Artificial Intelligence. Fifty-two participants (52 students from the Faculty of Fine Arts) were randomly signed into control and experimental groups. Participants of the control group were asked to rate five abstract paintings created by various artists, while the experimental group also rated the same paintings only differing in the names of the author that they were made by Artificial Intelligence. Consequently, in our research, we adopted Berlyne's psychobiological theory, which focuses on the role of arousal as one of the primary determinants of aesthetic preference. The results suggest that the name of AI on title can function as a novelty and surprising reference to denote performance for our visual arts perception despite the fact that it is not created by AI. However, “complexity,” “interestingness,” and “ambiguity” variables didn’t show any statistic significant. These findings extend past research by demonstrating that title presentation affects the perception of abstract art by the participants.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123633170","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Lucy Hind is a South African choreographer and movement director who lives in the UK. Her training was in choreography, mime and physical theatre at Rhodes University, South Africa. After her studies, Hind performed with the celebrated First Physical Theatre Company. In the UK, she has worked as movement director and performer in theatres including the Almeida, Barbican, Bath Theatre Royal, Leeds Playhouse Lowry, Sheffield Crucible, The Old Vic and The Royal Exchange. Lucy is also an associate artist of the award-winning Slung Low theatre company, which specializes in making epic theatre in non-theatre spaces. Here, Lucy talks to George Rodosthenous about her movement direction on the award-winning musical Girl from the North Country (The Old Vic/West End/Toronto and recently seen on Broadway), which was described by New York Times critic Ben Brantley as “superb”. The conversation delves into Lucy’s working methods: the ways she works with actors, the importance of collaborative work and her approach to characterization. Hind believes that her work affects the overall “tone, the atmosphere and the shape of the show”.
{"title":"“It’s All about Working with the Story!”: On Movement Direction in Musicals. An Interview with Lucy Hind","authors":"G. Rodosthenous","doi":"10.3390/arts9020056","DOIUrl":"https://doi.org/10.3390/arts9020056","url":null,"abstract":"Lucy Hind is a South African choreographer and movement director who lives in the UK. Her training was in choreography, mime and physical theatre at Rhodes University, South Africa. After her studies, Hind performed with the celebrated First Physical Theatre Company. In the UK, she has worked as movement director and performer in theatres including the Almeida, Barbican, Bath Theatre Royal, Leeds Playhouse Lowry, Sheffield Crucible, The Old Vic and The Royal Exchange. Lucy is also an associate artist of the award-winning Slung Low theatre company, which specializes in making epic theatre in non-theatre spaces. Here, Lucy talks to George Rodosthenous about her movement direction on the award-winning musical Girl from the North Country (The Old Vic/West End/Toronto and recently seen on Broadway), which was described by New York Times critic Ben Brantley as “superb”. The conversation delves into Lucy’s working methods: the ways she works with actors, the importance of collaborative work and her approach to characterization. Hind believes that her work affects the overall “tone, the atmosphere and the shape of the show”.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125942639","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The ceramic industry of Safavid Iran (1501-1732) represents one of the high points of the production of pottery in the world, and especially in the Islamic World. The present study aims to investigate Safavid ceramics from the accounts of European travellers and study their accounts about various aspects of Safavid ceramics. In this regard, dozens of travelogues of the Europeans who travelled to Iran during the Safavid era were studied. Travellers’ accounts on Safavid pottery that reflected in their travelogues, not only describes pottery as one of the distinguished Iranian industries, sometimes they also provide remarkable unique information about the pottery industry, the centers of manufacturing, trade, and export of pottery which are discussed in detail during the paper. This paper shows that travellers’ accounts are significant to the study of Safavid ceramic arts history.
{"title":"SAFAVID CERAMICS THROUGH THE EYES OF EUROPEAN TRAVELLERS","authors":"V. Afshar","doi":"10.31566/arts.3.007","DOIUrl":"https://doi.org/10.31566/arts.3.007","url":null,"abstract":"The ceramic industry of Safavid Iran (1501-1732) represents one of the high points of the production of pottery in the world, and especially in the Islamic World. The present study aims to investigate Safavid ceramics from the accounts of European travellers and study their accounts about various aspects of Safavid ceramics. In this regard, dozens of travelogues of the Europeans who travelled to Iran during the Safavid era were studied. Travellers’ accounts on Safavid pottery that reflected in their travelogues, not only describes pottery as one of the distinguished Iranian industries, sometimes they also provide remarkable unique information about the pottery industry, the centers of manufacturing, trade, and export of pottery which are discussed in detail during the paper. This paper shows that travellers’ accounts are significant to the study of Safavid ceramic arts history.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122225954","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Since the Western “discovery” of Japanese cinema in the 1950s, there has been a tendency among both Film Studies and Japanese Studies scholars to draw on essentialist visions of Japanese Cinema, understating its uniqueness as a consequence of its isolation from the rest of the world [...]
{"title":"Japan and the “Transnational Cinema”","authors":"M. C. Martín, Norimasa Morita","doi":"10.3390/arts9020050","DOIUrl":"https://doi.org/10.3390/arts9020050","url":null,"abstract":"Since the Western “discovery” of Japanese cinema in the 1950s, there has been a tendency among both Film Studies and Japanese Studies scholars to draw on essentialist visions of Japanese Cinema, understating its uniqueness as a consequence of its isolation from the rest of the world [...]","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"141 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-04-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130264760","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Since the early 1990s, interest in various forms of traditional music among middle-class urban ethnic Macedonians has grown. Known by some as the “Ethno Renaissance”, this trend initially grew in the context of educational ensembles in Skopje and gained momentum due to the soundtrack of the internationally acclaimed Macedonian film Before the Rain (1994) and the formation of the group DD Synthesis by musician and pedagogue Dragan Dautovski. This article traces the development of this multifaceted musical practice, which became known as “ethno music” (etno muzika) and now typically features combinations of various traditional music styles with one another and with other musical styles. Ethno music articulates dynamic changes in Macedonian politics and wider global trends in the “world music” market, which valorizes musical hybridity as “authentic” and continues to prioritize performers perceived as exotic and different. This article discusses the rhetoric, representation, and musical styles of ethno music in the 1990s and in a second wave of “ethno bands” (etno bendovi) that began around 2005. Drawing on ethnography conducted between 2011 and 2018 and on experience as a musician performing and recording in Macedonia periodically since 2003, I argue that, while these bands and their multi-layered musical projects resonate with middle-class, cosmopolitan audiences in Macedonia and its diaspora, their avoidance of the term “Balkan” and associated stereotypes constrains their popularity to Macedonian audiences and prevents them from participating widely in world music festival networks and related markets.
{"title":"Not Different Enough: Avoiding Representation as “Balkan” and the Constrained Appeal of Macedonian Ethno Music","authors":"Dave Wilson","doi":"10.3390/arts9020045","DOIUrl":"https://doi.org/10.3390/arts9020045","url":null,"abstract":"Since the early 1990s, interest in various forms of traditional music among middle-class urban ethnic Macedonians has grown. Known by some as the “Ethno Renaissance”, this trend initially grew in the context of educational ensembles in Skopje and gained momentum due to the soundtrack of the internationally acclaimed Macedonian film Before the Rain (1994) and the formation of the group DD Synthesis by musician and pedagogue Dragan Dautovski. This article traces the development of this multifaceted musical practice, which became known as “ethno music” (etno muzika) and now typically features combinations of various traditional music styles with one another and with other musical styles. Ethno music articulates dynamic changes in Macedonian politics and wider global trends in the “world music” market, which valorizes musical hybridity as “authentic” and continues to prioritize performers perceived as exotic and different. This article discusses the rhetoric, representation, and musical styles of ethno music in the 1990s and in a second wave of “ethno bands” (etno bendovi) that began around 2005. Drawing on ethnography conducted between 2011 and 2018 and on experience as a musician performing and recording in Macedonia periodically since 2003, I argue that, while these bands and their multi-layered musical projects resonate with middle-class, cosmopolitan audiences in Macedonia and its diaspora, their avoidance of the term “Balkan” and associated stereotypes constrains their popularity to Macedonian audiences and prevents them from participating widely in world music festival networks and related markets.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"76 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134256809","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this interview, artist and small press publisher Dr. Helen Douglas appraises the development of the artist’s book from its emergence in the 1950s and 1960s to seeking public recognition as a bone fide art form in the mid-1970s, through to the current global attention that it now attracts. Notions of the mass-produced and the handmade are questioned and examined in light of the freedom, cheapness and accessibility of digital technologies versus the time and labour of the artist in search of the haptic, intimate and conceptually complex experience.
{"title":"Books, Scrolls and Ripples: In Search of an Audience through the Printed Works of Helen Douglas","authors":"Chris Taylor","doi":"10.3390/arts9010035","DOIUrl":"https://doi.org/10.3390/arts9010035","url":null,"abstract":"In this interview, artist and small press publisher Dr. Helen Douglas appraises the development of the artist’s book from its emergence in the 1950s and 1960s to seeking public recognition as a bone fide art form in the mid-1970s, through to the current global attention that it now attracts. Notions of the mass-produced and the handmade are questioned and examined in light of the freedom, cheapness and accessibility of digital technologies versus the time and labour of the artist in search of the haptic, intimate and conceptually complex experience.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125963158","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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