Marilyn Levine 1935 -2005 yillari arasinda yasamis Kanada kokenli Amerikali bir seramik sanatcisidir. Lisans ve yuksek lisansini kimya alaninda tamamlayan ve bir sure ogretmenlik yapan Levine, ardindan Saskatchewan Universitesi Regina Kampusunde cizim, seramik, resim ve sanat tarihi dersleri almis ve Kaliforniya Universitesi Heykel Bolumu’nde yuksek lisansini tamamladiktan sonra 1973 yilinda Utah Universitesi Heykel Bolumu’ne ogretim uyesi olarak atanmistir. 1960’li yillarin sonunda Seramik Funk Art akimi icerisinde yer alan Levine’in, illuzyon teknigini basariyla kullandigi deri gorunumlu seramik heykelleri 1971 yilinda New York'ta Sidney Janis Galerisi'nde duzenlenen "Sharp-Focus Realism " sergisinde yer almis ve boylece Marilyn Levine, Andrea ve Duane Hunson’la John De birlikte Amerikan Hiperrealizminin heykel alanindaki ilk uc isminden biri olmustur. Makalemizde Marilyn Levine’in hayati ve sanati hakkinda bilgi verilerek calismalarinin Hipperrealizm icerisindeki yeri ve onemine deginilecektir.
{"title":"MARİLYN LEVİNE VE HİPERREALİST HEYKELLERİ","authors":"Şafak Güneş Gökduman","doi":"10.31566/arts.3.002","DOIUrl":"https://doi.org/10.31566/arts.3.002","url":null,"abstract":"Marilyn Levine 1935 -2005 yillari arasinda yasamis Kanada kokenli Amerikali bir seramik sanatcisidir. Lisans ve yuksek lisansini kimya alaninda tamamlayan ve bir sure ogretmenlik yapan Levine, ardindan Saskatchewan Universitesi Regina Kampusunde cizim, seramik, resim ve sanat tarihi dersleri almis ve Kaliforniya Universitesi Heykel Bolumu’nde yuksek lisansini tamamladiktan sonra 1973 yilinda Utah Universitesi Heykel Bolumu’ne ogretim uyesi olarak atanmistir. 1960’li yillarin sonunda Seramik Funk Art akimi icerisinde yer alan Levine’in, illuzyon teknigini basariyla kullandigi deri gorunumlu seramik heykelleri 1971 yilinda New York'ta Sidney Janis Galerisi'nde duzenlenen \"Sharp-Focus Realism \" sergisinde yer almis ve boylece Marilyn Levine, Andrea ve Duane Hunson’la John De birlikte Amerikan Hiperrealizminin heykel alanindaki ilk uc isminden biri olmustur. Makalemizde Marilyn Levine’in hayati ve sanati hakkinda bilgi verilerek calismalarinin Hipperrealizm icerisindeki yeri ve onemine deginilecektir.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131095394","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}
Sanat ve sanatci; caglar boyunca insanin ilgi alaninda olmus, klise tabirle magara devrinden gunumuze ve her alanda olmak uzere hic eksilmeden etkisini surdurmustur. Guzel sanatlar, mimarlik, edebiyat ya da muzik dalinda olsun, ortaya konan bu eserler; insanlik tarihini bicimlendirme konusunda yadsinamaz bir oneme sahiptirler. Sanatin onemi konusunda hemfikir olsak da sanat nedir? nasil anlasilir? veya neye hizmet eder? turu sorularin cevabini vermek zordur. Sanati tanimlama konusunda nerdeyse tamamen muglak kriterler soz konusudur ve gercekte, sanatin kendisi de bu belirsizligi kullandigi icin, olasilikla boyle kalmaya da devam edecektir. Idealist yaklasim, sanatin maddi cikarlara degil; yalnizca sanata hizmet etmesi gerektigini iddia eder. Bu sebeple, ‘halk icin sanat’, sanat olarak bile kabul edilmez. Sanatsal gelisim icin, idealist tavrin yeterli olmadigi herkes tarafindan bilinip kabul edilmesine karsin; ‘sanat yoluyla kazanc elde etme’ konusu gundeme geldiginde, insanlar genellikle suskun kalmayi tercih ederler. Halbuki sanat eserinin paraya donusmesi, diger her sey icin oldugu gibi, sanat icin de cok onemlidir. Bu makalede, etik olarak kabullenmekte zorlaniyor olsak da paranin, sanat ve sanatcinin gelisimi uzerindeki etkisi ele alinmaya calisilmistir.
{"title":"SANAT-SANATÇI VE BİR META NESNESİ OLARAK SANAT ESERİ","authors":"Sedat Balkir","doi":"10.31566/arts.3.004","DOIUrl":"https://doi.org/10.31566/arts.3.004","url":null,"abstract":"Sanat ve sanatci; caglar boyunca insanin ilgi alaninda olmus, klise tabirle magara devrinden gunumuze ve her alanda olmak uzere hic eksilmeden etkisini surdurmustur. Guzel sanatlar, mimarlik, edebiyat ya da muzik dalinda olsun, ortaya konan bu eserler; insanlik tarihini bicimlendirme konusunda yadsinamaz bir oneme sahiptirler. Sanatin onemi konusunda hemfikir olsak da sanat nedir? nasil anlasilir? veya neye hizmet eder? turu sorularin cevabini vermek zordur. Sanati tanimlama konusunda nerdeyse tamamen muglak kriterler soz konusudur ve gercekte, sanatin kendisi de bu belirsizligi kullandigi icin, olasilikla boyle kalmaya da devam edecektir. Idealist yaklasim, sanatin maddi cikarlara degil; yalnizca sanata hizmet etmesi gerektigini iddia eder. Bu sebeple, ‘halk icin sanat’, sanat olarak bile kabul edilmez. Sanatsal gelisim icin, idealist tavrin yeterli olmadigi herkes tarafindan bilinip kabul edilmesine karsin; ‘sanat yoluyla kazanc elde etme’ konusu gundeme geldiginde, insanlar genellikle suskun kalmayi tercih ederler. Halbuki sanat eserinin paraya donusmesi, diger her sey icin oldugu gibi, sanat icin de cok onemlidir. Bu makalede, etik olarak kabullenmekte zorlaniyor olsak da paranin, sanat ve sanatcinin gelisimi uzerindeki etkisi ele alinmaya calisilmistir.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"806 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123029502","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}
Gunluk kullanim ihtiyaclari dogrultusunda ortaya cikan, seramik malzemenin kirilgan yapisi zaman icinde insanoglunu bu nesneleri onarima yoneltmistir. Teknolojinin gelismesine paralel olarak ortaya cikan sentetik yapistiricilardan once, guvenilir ve yaygin kullanilanan seramik tamir yontemleri arasinda metal percinler, bagcik ve diger ilgili metal onarimlar gelmekteydi. Bu arastirmada; seramik tamirinde kullanilan percin tekniginin tarihcesi, gelisimi surecinde 19. ve 20. yuzyillarda yaygin olarak kullanilan araclar, malzemeler ve surecler incelenmistir.
{"title":"SERAMİK TAMİRİNDE UNUTULMAYA YÜZ TUTMUŞ BİR TEKNİK; PERÇİN","authors":"Ece Kanişkan","doi":"10.31566/arts.3.003","DOIUrl":"https://doi.org/10.31566/arts.3.003","url":null,"abstract":"Gunluk kullanim ihtiyaclari dogrultusunda ortaya cikan, seramik malzemenin kirilgan yapisi zaman icinde insanoglunu bu nesneleri onarima yoneltmistir. Teknolojinin gelismesine paralel olarak ortaya cikan sentetik yapistiricilardan once, guvenilir ve yaygin kullanilanan seramik tamir yontemleri arasinda metal percinler, bagcik ve diger ilgili metal onarimlar gelmekteydi. Bu arastirmada; seramik tamirinde kullanilan percin tekniginin tarihcesi, gelisimi surecinde 19. ve 20. yuzyillarda yaygin olarak kullanilan araclar, malzemeler ve surecler incelenmistir.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123113936","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}
Klasik donemin aydinlanma hareketi, Romantik donemin toplumsal hareketlerine kapi aralayarak, esitlik, kardeslik ve ozgurluk dusuncesini savunan Fransiz devriminin tum Avrupa’ya yayilmasina yol acmistir. Avrupa da 18. Yuzyilda aydinlar ve entelektueller tarafindan “akil” insanoglunun en onemli ozelligi olarak ortaya cikmistir. Bu donemde, filozoflar, akademisyenler ve politikacilar, dusunceye dayandirdiklari rasyonel doktrinleriyle Avrupa toplumunu yeniden calismislardir. Donemsel bir degerlendirmeye gidildiginde ressam heykeltiras, yazar, muzisyen ve mimarlarin kulturel anlamda aydinlanmanin bicimlendirme idealleri uzerine calismalar ortaya koyduklari bilinmektedir., Romantizm sozcugu, Latin kokenli dillerde soz konusu edilip anlatilan oyku ve soylencelerin ortak adi olan “romans” lardan gelmektedir. Romantizm kendi donemindeki resim, heykel, mimari, edebiyat ve muzik alanlarinda etkili olan sanatsal bir eylem olarak degerlendirilebilir. Romantizm sanat akimiyla beraber, evrenin merkezi olarak kabul edilen insan, ayni zamanda ahlâki degerlerin kaynagi ve olcusu olarak da deger gormeye baslamistir. Romantizm’le birlikte 19.yuzyil ressamlarinin daha onceki donemlerde gorulmemis bir bicimde resimlerinde yogun renkleri, hareketli firca suruslerini ve tutkulu duygularini yansitmislardir. Romantik ressamlar resimlerinde, kendilerinden once hayranlikla takip edilen sanat donemlerinden, Neoklasisizmden ve entellektuel yaklasimlarindan yer yer etkilenmelerine ragmen, sezgi ve bireyselligi daha fazla on plana cikartmaktadirlar. Romantik donem sanatcilari eserlerine kahramanlik, ask, olum, huzun, sevgi, nefret ve yurseverlik gibi konulari ele almislardir. Isledikleri bu konulara kendi duygusal ve tepkisel ifadelerini katarak eserlerini ortaya koymuslardir. Bu calismada, ozellikle Romantizm’in resim sanatindaki yeri ve Eugene Delacroix, Jean- Auguste- Dominique Ingres, Caspar David Friedrich, Philipp Otto Runge, Theodore Gericault, Anne-Louis Girodet, Antoine-Jean Gros, Jhon Henry Fuseli, William Blake, Francisco de Goya ve Joseph Mallord William Turner gibi ressamlari irdelenmeye calisilmis. Bunun yanisira Romantizm akiminin heykel, mimarlik, edebiyat ve muzik alanlarina olan etkileri ele alinarak, bu alanlarda da ozgun eserler ortaya koyan sanatcilardan soz edilmis ve donemsel bir degerlendirme yapilmistir.
{"title":"ROMANTİZM SANAT AKIMI VE SANATÇILARI ÜZERİNE BİR DEĞERLENDİRME","authors":"Mehmet Göktepe","doi":"10.31566/arts.3.005","DOIUrl":"https://doi.org/10.31566/arts.3.005","url":null,"abstract":"Klasik donemin aydinlanma hareketi, Romantik donemin toplumsal hareketlerine kapi aralayarak, esitlik, kardeslik ve ozgurluk dusuncesini savunan Fransiz devriminin tum Avrupa’ya yayilmasina yol acmistir. Avrupa da 18. Yuzyilda aydinlar ve entelektueller tarafindan “akil” insanoglunun en onemli ozelligi olarak ortaya cikmistir. Bu donemde, filozoflar, akademisyenler ve politikacilar, dusunceye dayandirdiklari rasyonel doktrinleriyle Avrupa toplumunu yeniden calismislardir. Donemsel bir degerlendirmeye gidildiginde ressam heykeltiras, yazar, muzisyen ve mimarlarin kulturel anlamda aydinlanmanin bicimlendirme idealleri uzerine calismalar ortaya koyduklari bilinmektedir., Romantizm sozcugu, Latin kokenli dillerde soz konusu edilip anlatilan oyku ve soylencelerin ortak adi olan “romans” lardan gelmektedir. Romantizm kendi donemindeki resim, heykel, mimari, edebiyat ve muzik alanlarinda etkili olan sanatsal bir eylem olarak degerlendirilebilir. Romantizm sanat akimiyla beraber, evrenin merkezi olarak kabul edilen insan, ayni zamanda ahlâki degerlerin kaynagi ve olcusu olarak da deger gormeye baslamistir. Romantizm’le birlikte 19.yuzyil ressamlarinin daha onceki donemlerde gorulmemis bir bicimde resimlerinde yogun renkleri, hareketli firca suruslerini ve tutkulu duygularini yansitmislardir. Romantik ressamlar resimlerinde, kendilerinden once hayranlikla takip edilen sanat donemlerinden, Neoklasisizmden ve entellektuel yaklasimlarindan yer yer etkilenmelerine ragmen, sezgi ve bireyselligi daha fazla on plana cikartmaktadirlar. Romantik donem sanatcilari eserlerine kahramanlik, ask, olum, huzun, sevgi, nefret ve yurseverlik gibi konulari ele almislardir. Isledikleri bu konulara kendi duygusal ve tepkisel ifadelerini katarak eserlerini ortaya koymuslardir. Bu calismada, ozellikle Romantizm’in resim sanatindaki yeri ve Eugene Delacroix, Jean- Auguste- Dominique Ingres, Caspar David Friedrich, Philipp Otto Runge, Theodore Gericault, Anne-Louis Girodet, Antoine-Jean Gros, Jhon Henry Fuseli, William Blake, Francisco de Goya ve Joseph Mallord William Turner gibi ressamlari irdelenmeye calisilmis. Bunun yanisira Romantizm akiminin heykel, mimarlik, edebiyat ve muzik alanlarina olan etkileri ele alinarak, bu alanlarda da ozgun eserler ortaya koyan sanatcilardan soz edilmis ve donemsel bir degerlendirme yapilmistir.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130694217","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}
From the starting point of a 1975 artwork made by Norwegian artist Kjartan Slettemark in Sweden to stop a tennis match in resistance to the Chilean military dictatorship, this article reframes the linear image of networks of solidarity and resistance through the gaps and connectivity of a mesh. It expands the figure of the mesh taken from critical materialism into the affective realm of art, historiography, and art institutions by exploring the cases of the museums Museo de la Solidaridad (1971–1974) and Museo Internacional de la Resistencia “Salvador Allende” (1975–1990). As this article delves into various knots and lacunas of the meshes of solidarity and resistance partaking in these museums, and analyzing the relations they wove, it also aims to reflect on the capacity of resilience of arpilleras, as well as on the generative possibilities of the incomplete labor of art history and its ethical and political responsibilities.
{"title":"Weaving Forms of Resistance: The Museo de la Solidaridad and The Museo Internacional de la Resistencia Salvador Allende","authors":"Carla Macchiavello Cornejo","doi":"10.3390/arts9010012","DOIUrl":"https://doi.org/10.3390/arts9010012","url":null,"abstract":"From the starting point of a 1975 artwork made by Norwegian artist Kjartan Slettemark in Sweden to stop a tennis match in resistance to the Chilean military dictatorship, this article reframes the linear image of networks of solidarity and resistance through the gaps and connectivity of a mesh. It expands the figure of the mesh taken from critical materialism into the affective realm of art, historiography, and art institutions by exploring the cases of the museums Museo de la Solidaridad (1971–1974) and Museo Internacional de la Resistencia “Salvador Allende” (1975–1990). As this article delves into various knots and lacunas of the meshes of solidarity and resistance partaking in these museums, and analyzing the relations they wove, it also aims to reflect on the capacity of resilience of arpilleras, as well as on the generative possibilities of the incomplete labor of art history and its ethical and political responsibilities.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122102367","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 1973, Analivia Cordeiro produced the videodance M3x3. Filmed in a Brazilian television studio and choreographed by Cordeiro with a computer, the work explores the limits of the human body through abstraction and its inhabitation of a new media landscape. Tracing the genealogy of M3x3 to the history of videodance, German and Brazilian art, and Brazilian politics, the article spotlights the media central for its conceptualization, production, and circulation to argue for how the video theorizes the posthuman as the inextricable entanglement of the body and technology.
{"title":"Machine Bodies: Performing Abstraction and Brazilian Art","authors":"M. Alvarez","doi":"10.3390/arts9010011","DOIUrl":"https://doi.org/10.3390/arts9010011","url":null,"abstract":"In 1973, Analivia Cordeiro produced the videodance M3x3. Filmed in a Brazilian television studio and choreographed by Cordeiro with a computer, the work explores the limits of the human body through abstraction and its inhabitation of a new media landscape. Tracing the genealogy of M3x3 to the history of videodance, German and Brazilian art, and Brazilian politics, the article spotlights the media central for its conceptualization, production, and circulation to argue for how the video theorizes the posthuman as the inextricable entanglement of the body and technology.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121048914","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}
Numerous images embedded in the painted decorations in early modern Central and Eastern European synagogues conveyed allegorical messages to the congregation. The symbolism was derived from biblical verses, stories, legends, and prayers, and sometimes different allegories were combined to develop coherent stories. In the present case study, which concerns a bird, seemingly a nocturnal raptor, depicted on the ceiling of the Unterlimpurg Synagogue, I explore the symbolism of this image in the contexts of liturgy, eschatology, and folklore. I undertake a comparative analysis of paintings in medieval and early modern illuminated manuscripts—both Christian and Jewish—and in synagogues in both Eastern and Central Europe. I argue that in some Hebrew illuminated manuscripts and synagogue paintings, nocturnal birds of prey may have been positive representations of the Jewish people, rather than simply a response to their negative image in Christian literature and art, but also a symbol of redemption. In the Unterlimpurg Synagogue, the night bird of prey, combined with other symbolic elements, represented a complex allegoric picture of redemption, possibly implying the image of King David and the kabbalistic nighttime prayer Tikkun Ḥaẓot. This case study demonstrates the way in which early modern synagogue painters created allegoric paintings that captured contemporary religious and mystical ideas and liturgical developments.
{"title":"Prey of Pray: Allegorizing the Liturgical Practice","authors":"Zvi Orgad","doi":"10.3390/arts9010003","DOIUrl":"https://doi.org/10.3390/arts9010003","url":null,"abstract":"Numerous images embedded in the painted decorations in early modern Central and Eastern European synagogues conveyed allegorical messages to the congregation. The symbolism was derived from biblical verses, stories, legends, and prayers, and sometimes different allegories were combined to develop coherent stories. In the present case study, which concerns a bird, seemingly a nocturnal raptor, depicted on the ceiling of the Unterlimpurg Synagogue, I explore the symbolism of this image in the contexts of liturgy, eschatology, and folklore. I undertake a comparative analysis of paintings in medieval and early modern illuminated manuscripts—both Christian and Jewish—and in synagogues in both Eastern and Central Europe. I argue that in some Hebrew illuminated manuscripts and synagogue paintings, nocturnal birds of prey may have been positive representations of the Jewish people, rather than simply a response to their negative image in Christian literature and art, but also a symbol of redemption. In the Unterlimpurg Synagogue, the night bird of prey, combined with other symbolic elements, represented a complex allegoric picture of redemption, possibly implying the image of King David and the kabbalistic nighttime prayer Tikkun Ḥaẓot. This case study demonstrates the way in which early modern synagogue painters created allegoric paintings that captured contemporary religious and mystical ideas and liturgical developments.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129794794","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 investigates a decision every holographer makes: where to place light-forms along the z-axis, given the power of light imagery. This choice governs what sits behind the plate, what is on the surface and what projects in front of the plate toward the viewer. After considering ways that the placement of imagery sets the stage for viewers to respond to a holographic narrative, examples are offered from a series of reflection holograms. These examples are drawn from a continuing creative practice which explores aspects of narrative within the unique parameters of holographic volume.
{"title":"Speaking Volumes: Studying Depth in Holographic Narratives","authors":"Doris Vila","doi":"10.3390/arts9010001","DOIUrl":"https://doi.org/10.3390/arts9010001","url":null,"abstract":"This article investigates a decision every holographer makes: where to place light-forms along the z-axis, given the power of light imagery. This choice governs what sits behind the plate, what is on the surface and what projects in front of the plate toward the viewer. After considering ways that the placement of imagery sets the stage for viewers to respond to a holographic narrative, examples are offered from a series of reflection holograms. These examples are drawn from a continuing creative practice which explores aspects of narrative within the unique parameters of holographic volume.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114870900","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}
Recent art history studies have delved into notions of futurity as it relates to indigenous approaches to environmental destruction in the face of ongoing colonial oppression. Building on the concept of indigenous futures, the present investigation focuses on the Kichwa artist Manuel Amaru Cholango’s decolonial critique of technology. Since the 1990s and in response to the quincentennial celebration of the “discovery” of America in 1992, Cholango has developed an oeuvre that criticizes the instrumentalization of modern technology for the exploitation of the earth and the perpetuation of colonialism. By advancing the notion of Andean technology, Cholango brings to bear other ways of relating to the environment that can help create, once again, the possibility of the future.
{"title":"Manuel Amaru Cholango: Decolonizing Technologies and the Construction of Indigenous Futures","authors":"Saray Garzón","doi":"10.3390/arts8040163","DOIUrl":"https://doi.org/10.3390/arts8040163","url":null,"abstract":"Recent art history studies have delved into notions of futurity as it relates to indigenous approaches to environmental destruction in the face of ongoing colonial oppression. Building on the concept of indigenous futures, the present investigation focuses on the Kichwa artist Manuel Amaru Cholango’s decolonial critique of technology. Since the 1990s and in response to the quincentennial celebration of the “discovery” of America in 1992, Cholango has developed an oeuvre that criticizes the instrumentalization of modern technology for the exploitation of the earth and the perpetuation of colonialism. By advancing the notion of Andean technology, Cholango brings to bear other ways of relating to the environment that can help create, once again, the possibility of the future.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116950207","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 paper focuses on Australian Indigenous rock art tourism, a field that has received limited research attention. Our aim is to identify aspects which are invisible in tourism promotions. We note trends in rock art tourism and related research, survey the Australian situation, and employ a case study approach to outline the development of Indigenous rock art tourism in Kakadu National Park (KNP) and parts of the Quinkan (Laura Cooktown) region. In both regions, Aboriginal communities inherited legacies of top down decision-making and bureaucratic methods. Although the Laura people transitioned to a community-based system and a successful ranger program, they face challenges in achieving their aspirations for sustainable rock art tourism. KNP communities, subsumed into an unwieldy joint management arrangement for the World Heritage listed National Park, are faced with competing values and perspectives of the dominant government system. A centerpiece of the Balnggarrawarra tourism initiative is the ranger/tour guide system of the type which operated for some years at Laura and was introduced briefly at KNP. The model incorporates key elements of sustainable Indigenous tourism–traditional owner control and jobs, land care, conservation, cultural preservation, partnerships, and public education. Notwithstanding contemporary challenges and realities, a unifying theme is caring for rock art.
{"title":"Indigenous Rock Art Tourism in Australia: Contexts, Trajectories, and Multifaceted Realities","authors":"N. Cole, Lynley A. Wallis","doi":"10.3390/arts8040162","DOIUrl":"https://doi.org/10.3390/arts8040162","url":null,"abstract":"This paper focuses on Australian Indigenous rock art tourism, a field that has received limited research attention. Our aim is to identify aspects which are invisible in tourism promotions. We note trends in rock art tourism and related research, survey the Australian situation, and employ a case study approach to outline the development of Indigenous rock art tourism in Kakadu National Park (KNP) and parts of the Quinkan (Laura Cooktown) region. In both regions, Aboriginal communities inherited legacies of top down decision-making and bureaucratic methods. Although the Laura people transitioned to a community-based system and a successful ranger program, they face challenges in achieving their aspirations for sustainable rock art tourism. KNP communities, subsumed into an unwieldy joint management arrangement for the World Heritage listed National Park, are faced with competing values and perspectives of the dominant government system. A centerpiece of the Balnggarrawarra tourism initiative is the ranger/tour guide system of the type which operated for some years at Laura and was introduced briefly at KNP. The model incorporates key elements of sustainable Indigenous tourism–traditional owner control and jobs, land care, conservation, cultural preservation, partnerships, and public education. Notwithstanding contemporary challenges and realities, a unifying theme is caring for rock art.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"41 5-6","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132728721","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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