Pub Date : 2023-07-03DOI: 10.1080/14702029.2023.2195732
James Elkins
ABSTRACT The author presents reasons for doubting the uses of images in art history and art theory. Fine art images conventionally function as illustrations of arguments presented in text, which is counter to their putative value as the objects of scholarly attention. The author describes his reasons for leaving art history, and the essay concludes with excerpts from a forthcoming novel in order to show how images can have very different relations to their surrounding text, and how academic writing might be expanded to accommodate other voices.
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Pub Date : 2023-07-03DOI: 10.1080/14702029.2022.2157958
J. R. Carpenter
ABSTRACT pause is an excerpt of a body of work begun during my time as Writer in Residence at the University of Alberta, in Treaty 6 Territory, 2020–2021. This writing was generated through a daily writing practice undertaken in collaboration with Christine Stewart and informed by an ongoing walking, talking, listening with notokwew muskwa manitokan (old woman bear). This practice attempts, through pause and attention, to acknowledge the territory in which this writing becomes possible.
{"title":"pause","authors":"J. R. Carpenter","doi":"10.1080/14702029.2022.2157958","DOIUrl":"https://doi.org/10.1080/14702029.2022.2157958","url":null,"abstract":"ABSTRACT pause is an excerpt of a body of work begun during my time as Writer in Residence at the University of Alberta, in Treaty 6 Territory, 2020–2021. This writing was generated through a daily writing practice undertaken in collaboration with Christine Stewart and informed by an ongoing walking, talking, listening with notokwew muskwa manitokan (old woman bear). This practice attempts, through pause and attention, to acknowledge the territory in which this writing becomes possible.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"59 1","pages":"307 - 314"},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139363710","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}
Pub Date : 2023-04-21DOI: 10.1080/14702029.2023.2184975
J. Elkins, M. Wong, T. Briggs
{"title":"Integrated foundation studio and art history at the School of the Art Institute of Chicago","authors":"J. Elkins, M. Wong, T. Briggs","doi":"10.1080/14702029.2023.2184975","DOIUrl":"https://doi.org/10.1080/14702029.2023.2184975","url":null,"abstract":"","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82022635","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}
Pub Date : 2023-01-02DOI: 10.1080/14702029.2023.2174713
I. Heywood
ABSTRACT The article traces Beth Harland's approach to painting practice in light of her engagement with Michael Fried's interpretation of eighteenth and nineteenth century painting and her fascination with Marcel Proust's À la recherche du temps perdu. The contrast between reflection on phenomena of inner life and a painting’s audience address is explored through a reading of passages from Nietzsche’s The Gay Science, Proust's Contre Sainte-Beuve and Fried's writing about theatricality and absorption. Harland’s practical and theoretical explorations of the situation and possibilities of contemporary painting, illuminated by her engagement with notions of theatricality and absorption, are then outlined. After considering Hans Belting’s views on seriality and processes of re-working, the article concludes by suggesting that Harland sought and achieved a buoyant working relationship between formational contraries, avoiding both hypostatisation and easy compromise.
本文追溯了贝丝·哈兰德的绘画实践方法，根据她参与迈克尔·弗里德对十八和十九世纪绘画的解释，以及她对马塞尔·普鲁斯特的À la recherche du temps perdu的迷恋。通过阅读尼采的《快乐的科学》、普鲁斯特的《反对圣伯夫》和弗里德关于戏剧性和专注的著作，探讨了对内心生活现象的反思与一幅画的观众演讲之间的对比。然后概述了哈兰德对当代绘画的情况和可能性的实践和理论探索，以及她对戏剧和吸收概念的参与。在考虑了汉斯·贝尔廷关于序列性和再加工过程的观点后，文章的结论是，哈兰德在形成的对立面之间寻求并实现了一种活跃的工作关系，既避免了虚假性，也避免了容易妥协。
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Pub Date : 2023-01-02DOI: 10.1080/14702029.2023.2172106
S. Morley
ABSTRACT I take Mark Rothko at his word when he claims that an encounter with his paintings involves ‘companionship’ and argue that this insight reflects the artist’s recognition that an observer and his work are in a relationship in which, as the German sociologist Hartmut Rosa puts it, ‘both sides speak with their own voice’. To understand what this might mean, I first discuss Rosa’s theory of ‘resonance’ and its importance for the study of art. Then, I explore ‘resonance’ in relation to Rothko, relating it to how he manipulated the language of painting to de-centre the normative visual perception of the observer, but also how he potentially opens this observer up to radically non-normative psychological and somatic experiences. The de-centring involves making space for an active relationship with Rothko’s paintings which shifts the observer from the focused, outer-directed and controlling attention that usually dominates visual perception towards a more inwardly directed but more porous mode enacted under conditions of essential uncontrollability.
{"title":"Rothko and resonance","authors":"S. Morley","doi":"10.1080/14702029.2023.2172106","DOIUrl":"https://doi.org/10.1080/14702029.2023.2172106","url":null,"abstract":"ABSTRACT I take Mark Rothko at his word when he claims that an encounter with his paintings involves ‘companionship’ and argue that this insight reflects the artist’s recognition that an observer and his work are in a relationship in which, as the German sociologist Hartmut Rosa puts it, ‘both sides speak with their own voice’. To understand what this might mean, I first discuss Rosa’s theory of ‘resonance’ and its importance for the study of art. Then, I explore ‘resonance’ in relation to Rothko, relating it to how he manipulated the language of painting to de-centre the normative visual perception of the observer, but also how he potentially opens this observer up to radically non-normative psychological and somatic experiences. The de-centring involves making space for an active relationship with Rothko’s paintings which shifts the observer from the focused, outer-directed and controlling attention that usually dominates visual perception towards a more inwardly directed but more porous mode enacted under conditions of essential uncontrollability.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"116 1","pages":"75 - 92"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79169663","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}
Pub Date : 2023-01-02DOI: 10.1080/14702029.2022.2162278
Ioannis Galanopoulos-Papavasileiou, Shane Hulbert
ABSTRACT Views from Expatria: Photographing Place and the Self in Transience echoes the contradictory contexts of accelerated global migration and the recent pandemic border closures and controls. These conditions contribute creative parallels and new relationships to an escalating interest in concepts of place, home, expatriation and transience in contemporary society. As a creative-based research initiative using landscape photography as both a tool and methodology, the project reflects aesthetic trends, legacies and current debates about landscape photography and its contemporaneity. The paper critiques the literature and community of practitioners around concepts of non-place, home, transience and expatriation, and concepts central to the featured artist’s photographic project Views from Expatria (2021). The paper also seeks to explore ways in which the practice is informed by contemporary photographic theories and practices.
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Pub Date : 2023-01-02DOI: 10.1080/14702029.2023.2170849
B. Harland
ABSTRACT This article is the posthumous publication of a lecture given by the artist and academic Beth Harland (1964–2019). It was originally presented at a conference on Theatricality, at Lancaster University in 2017. This paper begins by working through the arguments of Michael Fried, to situate the key terms of theatricality and absorption, before then turning to contemporary painting practice (with notable reference to the work of Tomma Abts) to advance her reading of ‘an absorptive mode of address within contemporary painting’. This article also situates Harland's own art practice.
{"title":"Michael Fried’s theatricality and the practice of painting","authors":"B. Harland","doi":"10.1080/14702029.2023.2170849","DOIUrl":"https://doi.org/10.1080/14702029.2023.2170849","url":null,"abstract":"ABSTRACT This article is the posthumous publication of a lecture given by the artist and academic Beth Harland (1964–2019). It was originally presented at a conference on Theatricality, at Lancaster University in 2017. This paper begins by working through the arguments of Michael Fried, to situate the key terms of theatricality and absorption, before then turning to contemporary painting practice (with notable reference to the work of Tomma Abts) to advance her reading of ‘an absorptive mode of address within contemporary painting’. This article also situates Harland's own art practice.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"65 1","pages":"47 - 59"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72968481","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}
Pub Date : 2022-12-22DOI: 10.1080/14702029.2022.2151192
T. Corby, G. Baily, Jonathan Mackenzie, L. Sime, Giles Lane, Erin Dickson, George Roussos
ABSTRACT This paper presents an overview of emerging research at the Manifest Data Lab a collective of artists and climate scientists who employ climate data experimentally in public settings. We discuss one of our projects The Carbon Chronicles, a reverse-engineered climate data set, projected on prominent public buildings in London during the period of COP26. Our approach examines the potential of climate data visualisations to operate as a public form that surface issues of climate justice and historic responsibilities. We report on the project’s methodological framing, production and associated artistic strategies. GRAPHICAL ABSTRACT
本文概述了Manifest数据实验室(Manifest Data Lab)的新兴研究，该实验室由一群艺术家和气候科学家组成，他们在公共环境中实验使用气候数据。我们讨论了我们的一个项目“碳编年史”，这是一个逆向工程的气候数据集，在COP26期间对伦敦著名的公共建筑进行了投影。我们的方法考察了气候数据可视化作为一种公共形式运作的潜力，这种公共形式可以揭示气候正义和历史责任问题。我们报告项目的方法框架，生产和相关的艺术策略。图形抽象
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Pub Date : 2022-10-12DOI: 10.1080/14702029.2022.2123628
Zimu Zhang
ABSTRACT Built on theoretical frameworks of surveillant assemblage, sousveillance and other surveillance and biopolitical scholarship, I analyze two Chinese art projects, Dragonfly Eyes (2017), an experimental film by Xu Bing and Eye Contact (2016), a performance piece by Ge Yulu, as artistic sousveillance to resist surveillance biopower in a control society. I put the two works in dialogue as their shared yet different strategies critically engage with the surveillant assemblage, DIY technology and biopolitical production. Apart from problematizing the algorithmic violence and biopower of the global and also local surveillant assemblage, both art projects also contribute to more-than-human configurations of the surveillance system. I also point out that as these two surveillance artworks are symptomatic of surveillance systems, they may embody mimetic violence and post considerations for more ethical reflections in artistic sousveillance.
{"title":"Artistic sousveillance in the societal surveillant assemblage – on Dragonfly Eyes and Eye Contact","authors":"Zimu Zhang","doi":"10.1080/14702029.2022.2123628","DOIUrl":"https://doi.org/10.1080/14702029.2022.2123628","url":null,"abstract":"ABSTRACT Built on theoretical frameworks of surveillant assemblage, sousveillance and other surveillance and biopolitical scholarship, I analyze two Chinese art projects, Dragonfly Eyes (2017), an experimental film by Xu Bing and Eye Contact (2016), a performance piece by Ge Yulu, as artistic sousveillance to resist surveillance biopower in a control society. I put the two works in dialogue as their shared yet different strategies critically engage with the surveillant assemblage, DIY technology and biopolitical production. Apart from problematizing the algorithmic violence and biopower of the global and also local surveillant assemblage, both art projects also contribute to more-than-human configurations of the surveillance system. I also point out that as these two surveillance artworks are symptomatic of surveillance systems, they may embody mimetic violence and post considerations for more ethical reflections in artistic sousveillance.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"83 1","pages":"9 - 27"},"PeriodicalIF":0.0,"publicationDate":"2022-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83778238","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}
Pub Date : 2022-10-02DOI: 10.1080/14702029.2022.2131044
J. Lechte
ABSTRACT The ‘Note’ shows that Agamben’s book, The Man Without Content, raises the question of art criticism and in so doing also raises questions relating to the nature of art and the medium.
{"title":"Note on Agamben on art criticism and the art object as medium","authors":"J. Lechte","doi":"10.1080/14702029.2022.2131044","DOIUrl":"https://doi.org/10.1080/14702029.2022.2131044","url":null,"abstract":"ABSTRACT The ‘Note’ shows that Agamben’s book, The Man Without Content, raises the question of art criticism and in so doing also raises questions relating to the nature of art and the medium.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"97 1","pages":"305 - 309"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74980707","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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