Journal of Visual Art Practice最新文献

{"title":"Rewriting history: a conversation between Parham Taghioff and Hamidreza Karami","authors":"Hamidreza Karami, Parham Taghioff","doi":"10.1080/14702029.2024.2307719","DOIUrl":"https://doi.org/10.1080/14702029.2024.2307719","url":null,"abstract":"","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"22 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140515636","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}

{"title":"Women botanical-illustrators and their successors in the Israeli culture: merging historical heritage with contemporary art","authors":"Shahar Marnin-Distelfeld","doi":"10.1080/14702029.2023.2264080","DOIUrl":"https://doi.org/10.1080/14702029.2023.2264080","url":null,"abstract":"ABSTRACTExploring the flora and fauna of the land of pre-state Israel stood at the heart of the Zionist venture. Zionist institutions took efforts to educate the Jewish population, trying to connect it to the land by learning it. This involved various ways of familiarising children and adults with their surroundings, with botanical illustration as an important agent working for that cause. This article aims to examine the three botanical women illustrators who contributed significantly to Israeli science and art, followed by three contemporary women artists whose art is inspired by them. Using a methodology combining visual analysis with the artists' interviews, it will be demonstrated how botanical illustration of the past is embedded in contemporary art. Both share a perception of plants as crucial elements populating the planet, and as objects of aesthetic investigation. These perceptions have led to various attitudes: first, exploring the plant in nature and observing it thoroughly throughout the artistic process. Second, the image created remains botanically identifiable, thus echoing a scientific approach. Third, the plant's Hebrew name is sometimes included. The noticeable inspiration of historical illustrators for contemporary artists lies both in the choices of the images themselves and in the practice of creating them.KEYWORDS: Israeli artbotanical illustrationbotanically inspired artbotany and gender AcknowledgementsI am grateful for hours of conversations with the artist Bracha Avigad, who passed away in 2016. Many thanks to Naomi Or-Gil and Udi Huber, Esther Huber's children. Many thanks to Uriel Safriel for his kindness and for sharing Ruth Koppel’s legacy with me. All contemporary artists – Tirtsa Valentine, Nurit Gur-Lavy (Karni) and Shahar Katz – were very cooperative and generous in our conversations. I thank them for sharing their knowledge, thoughts and the artworks with me.Disclosure statementNo potential conflict of interest was reported by the author.Notes1 Interview with Uriel Safriel, 10 February 2016, Jerusalem.2 From Koppel’s estate, courtesy of Uriel Safriel.3 Interview with Naomi Or-Gil, Huber's daughter, 10 March 2016, Kfar Ben-Nun.4 Interview with Udi Harel, Huber's son, 30 January 2016, Yuvalim.5 Interview with Naomi Or-Gil, Huber's daughter, 10 March 2016, Kfar Ben-Nun.6 For more information regarding Huber’s art, see Marnin-Distelfeld and Gorney (Citation2019).7 Noga Hareuveni, Ephraim Hareuveni’s son, fulfilled part of the project and established the Neot Kedumim park in 1968. It received the Israel Prize in 1994.8 Interview with Bracha Avigad, 24 April 2016. Kiryat Tivon.9 Ibid.10 Ibid.11 Ibid.12 Artists who can be defined as such include, among others, Avital Geva, Noam Rabinovich, and Noa Raz Melamed.13 As she called herself in an invitation to her exhibition, at: www.uri-rami-museum.co.il/node/142 (Hebrew; accessed 2 May 2017).14 Interview with Bracha Avigad, 6 February 2013, Kiryat Tivon.15 Interview with T","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"SE-11 11","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135406087","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}

{"title":"Erotics as resistance: the work of Conny Karlsson Lundgren","authors":"Erika Larsson, Louise Wolthers","doi":"10.1080/14702029.2023.2258049","DOIUrl":"https://doi.org/10.1080/14702029.2023.2258049","url":null,"abstract":"In the 1920s and 30s, a criminal investigation followed by a trial against a group of allegedly homosexual men was launched in Gothenburg, Sweden. Almost a century later, Swedish artist Conny Karlsson Lundgren engages with these events in a multifaceted two-part installation and performative work that borrows the title from the investigation, The Gothenburg Affair (Göteborgsaffären). In this article, we describe how the investigation was conducted during a time in which the science of criminology expanded to envelop new technologies and methods of identification and categorization. Tools such as new uses of photography, the portrait parlé, and Kretschmerian body types were implemented to identify criminal individuals and behaviors and place them within a particular category of criminality or pathology. In his works, Karlsson Lundgren conspicuously brings out sensual and sexual details of the archival material and inverts the denigrating and stigmatizing ways in which these details were used in the source material. In the article, we describe the strategies though which Karlsson Lundgren’s work transforms aspects of the archival material and in this way intervenes in history to continue a resistance found between the lines of the archival material itself.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135617587","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}

{"title":"The ‘unthought’ of gaze: an investigation through Su Shi, Liubai and art practice","authors":"Wenke Sun","doi":"10.1080/14702029.2023.2258048","DOIUrl":"https://doi.org/10.1080/14702029.2023.2258048","url":null,"abstract":"ABSTRACT The gaze contributes to a way of seeing in the exploration of visual art. However, this visual logic often remains within the subjective ‘fold’, neglecting the ‘unthought’ arising from the interaction between the observer and subject, and leading to a certain closure. My research investigates Su Shi's bamboo theory and the interpretation of liubai space in Chinese landscape painting. I aim to uncover the ‘logic of immanence’ that extends the concept of gaze beyond the physical. I achieve this by proposing that vision no longer holds precedence; instead, it is internalized as a motivating factor influencing an artist's movements and behaviors. This perspective sparks a consideration of the ‘unthought’ aspect of the gaze within art practice.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"49 1","pages":"373 - 392"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139324658","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}

{"title":"Contemporary Chinese landscape paintings: genealogies of form","authors":"Qing Yang","doi":"10.1080/14702029.2023.2264076","DOIUrl":"https://doi.org/10.1080/14702029.2023.2264076","url":null,"abstract":"ABSTRACT This article examines differing conceptions of ‘form’ in Western and Chinese landscape traditions, leading to critical perspectives on contemporary Chinese landscape painting. The paper argues that Chinese oil landscapes tend to be conservative, while ink landscapes are more experimental. Furthermore, Western Formalism can be shown to influence Chinese landscape painting, expanding possibilities for both oil and ink contemporary works. Nonetheless, a longer tradition equally persists. Su Shi (1037–1101), for example, who prefigures the literati painting approach, remains an enduring influence. The scholarly style, experimental during the Song Dynasty, conveys a painting's spiritual expression over precise techniques. An examination across Western and Chinese traditions enables a genealogical reading of form in the work of contemporary Chinese artists, bridging history and modernity, Western and Eastern styles, and accounting for differing approaches to form.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"9 1","pages":"347 - 371"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139324308","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}

{"title":"Dongpo dream machine: notes towards an exhibition","authors":"Qiuyu Jin, Sunil Manghani","doi":"10.1080/14702029.2023.2273060","DOIUrl":"https://doi.org/10.1080/14702029.2023.2273060","url":null,"abstract":"ABSTRACT This article presents a concept for an imagined exhibition relating to the work of Su Shi (1037–1101), also known as Su Dongpo. A renowned poet and calligrapher from China's Song Dynasty, Su Shi stands out as one of the pivotal figures in traditional Chinese literature; credited with penning many of China's iconic poems that remain part of the educational curriculum in China today. The proposed project is situated within the historical sites of Hainan, an island where Su Shi was exiled near the end of his life. Taking a contemporary approach to heritage, the exhibition concept draws upon recent developments in artificial intelligence large language models, with the aim of enabling visitors to generate and explore ‘lost’ poems of Su Shi.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"127 1","pages":"421 - 441"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139324513","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}

{"title":"Drawing facing calligraphy: surface, subject and Su Shi","authors":"Rebeca Font","doi":"10.1080/14702029.2023.2273062","DOIUrl":"https://doi.org/10.1080/14702029.2023.2273062","url":null,"abstract":"ABSTRACT This article explores how the search for an attribution of meaning to the marks on a surface promotes the irruption of language in drawing, and its consequent stiffening. In contrast to western culture, Chinese calligraphy, to which the trace of drawing belongs, unfolds the rhythm contained in its characters and removes the mere search for meaning from the relationship with writing and, in turn, with drawing. The poetry, paintings and calligraphy of Su Shi, master of the Sung dynasty, are presented in dialogue with the contemporary graphic work of Rebeca Font, in order to detach drawing from its ‘skin’. In this way, drawing unfolds in an unthinkable space, alluding to Foucault, and reveals an implicit multiplicity, which contains in itself the human being, and which in constant movement manifests its need of being in heterotopia.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"23 1","pages":"401 - 419"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139324783","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}

{"title":"After Su Shi","authors":"Feng Jie, Zhao Ying","doi":"10.1080/14702029.2023.2275861","DOIUrl":"https://doi.org/10.1080/14702029.2023.2275861","url":null,"abstract":"ABSTRACT This article offers an introduction to ‘After Su Shi’, a special issue of Journal of Visual Art Practice, which focuses on the art practice of China’s revered poet, calligrapher and stateman, Su Shi (1037–1101). The article situates the work of Su Shi specifically within the context of Hainan, the southern island of China where Su Shi was exiled near the end of his life. Some of his most famous poetry was written during this period and subsequently his identification with Hainan has long endured. Key heritage sites are referenced in this article, and, combined with an overview of the collected papers of the special issue as well as Hainan’s recent new status as free port, this introduction sets out both a historical and contemporary view of Su Shi. It elucidates his far-reaching influence but also contemporary ‘currency’, suggesting of what might come after Su Shi, both in this image, but also akin to his free-spirited belief in the arts.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"1 1","pages":"315 - 330"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139324879","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}

{"title":"International experimental calligraphy","authors":"Zhang Qiang, Jiarui Han","doi":"10.1080/14702029.2023.2273071","DOIUrl":"https://doi.org/10.1080/14702029.2023.2273071","url":null,"abstract":"ABSTRACT A visual presentation of Zhang Qiang’s experimental calligraphy is set alongside a reading of the notion of ‘International Experimental Calligraphy’. This term serves a dual purpose. Historically, it provides a framework to understand and acknowledge calligraphy from ancient times and unconventional writing practices within the context of Chinese calligraphy. It also serves to validate Western abstract expressionism as an experience aligned with calligraphy, so enriching a genealogical account of ‘visual history’. In doing so, the poet and calligrapher, Su Shi, is a representative figure. His early thinking offers an important reminder that for Chinese calligraphy to be recognized as modern and contemporary, it needs to move beyond the confines of merely an intangible cultural heritage, and rather be understood an integrated aspect of an international, genealogical visual history.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"29 1","pages":"393 - 400"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139324178","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}

{"title":"Drawing beside the lines of writing: Letters to Anni","authors":"Sally Morfill","doi":"10.1080/14702029.2023.2202945","DOIUrl":"https://doi.org/10.1080/14702029.2023.2202945","url":null,"abstract":"ABSTRACT This article presents a sequence of drawings belonging to the wider project Letters to Anni (2022-). At the centre of the project is an event of writing: the habitual gesture of handwriting – in this instance, in the context of a longhand letter to Anni Albers – recorded using motion sensors. A sequence of translation processes applied to the captured digital data allows the usually ephemeral movement of points on the hand to be registered as linear compositions. The interspersed text ruminates on inscribed line as expression of thought, and mediator between language and movement. It draws together a constellation of reference points, including the personal experience of learning to write, Vilém Flusser’s ‘Gesture of Writing’, and Albers’s interest in visual forms of writing that influenced her figurative weavings, and which inspired the project. A context for the work unfolds; the drawings, characterised by a writing aesthetic that is read as image rather than text, are positioned as a kind of ‘para-writing’, made in the moment of inscribing meaning, they are drawings located beside the lines of writing.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"1 1","pages":"245 - 272"},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139363426","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}