Pub Date : 2022-02-18DOI: 10.1080/14702029.2021.2022291
Eman Abdou
ABSTRACT Various humoristic approaches have manifested in contemporary Egyptian painting in the aftermath of the revolution. This article examines the use of memes in contemporary political painting, and why Egyptian artists started to initiate humor and laughter, even if it was cynical or bitter. It adopts a critical model for analysing humoristic paintings initially developed from the general theory of verbal humor for analysing jokes and texts.
{"title":"Political humor: memes in Egyptian painting after the revolution","authors":"Eman Abdou","doi":"10.1080/14702029.2021.2022291","DOIUrl":"https://doi.org/10.1080/14702029.2021.2022291","url":null,"abstract":"ABSTRACT Various humoristic approaches have manifested in contemporary Egyptian painting in the aftermath of the revolution. This article examines the use of memes in contemporary political painting, and why Egyptian artists started to initiate humor and laughter, even if it was cynical or bitter. It adopts a critical model for analysing humoristic paintings initially developed from the general theory of verbal humor for analysing jokes and texts.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"44 1","pages":"133 - 146"},"PeriodicalIF":0.0,"publicationDate":"2022-02-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89172739","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 : 2022-01-02DOI: 10.1080/14702029.2021.2021728
Thomas Apostolou, Juan Carlos Meana, Fernando José Pereira
ABSTRACT Contemporary artists utilise a variety of methods which allow unpredictable forces, such as randomness, chance, chaos, the subconscious, participation, and others, to influence their creative process. These sources of unpredictability are situated against the artist’s control in the creative process. We developed a system of control-limiting strategies that enable the simultaneous study of different methods with similar sources of unpredictability. Through examples – including works by other artists and works by one of the authors – we introduce Internal, External, Relational/Interactive and Mechanical strategies. We analyse the way control is limited in the creative process and draw conclusions on how this affects the artwork. GRAPHICAL ABSTRACT
{"title":"Limiting control: vocabularies and strategies of unpredictability in contemporary art","authors":"Thomas Apostolou, Juan Carlos Meana, Fernando José Pereira","doi":"10.1080/14702029.2021.2021728","DOIUrl":"https://doi.org/10.1080/14702029.2021.2021728","url":null,"abstract":"ABSTRACT Contemporary artists utilise a variety of methods which allow unpredictable forces, such as randomness, chance, chaos, the subconscious, participation, and others, to influence their creative process. These sources of unpredictability are situated against the artist’s control in the creative process. We developed a system of control-limiting strategies that enable the simultaneous study of different methods with similar sources of unpredictability. Through examples – including works by other artists and works by one of the authors – we introduce Internal, External, Relational/Interactive and Mechanical strategies. We analyse the way control is limited in the creative process and draw conclusions on how this affects the artwork. GRAPHICAL ABSTRACT","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"36 1","pages":"73 - 96"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74170193","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 : 2022-01-02DOI: 10.1080/14702029.2021.2020591
Olha Lukovska, T. Kara-Vasylieva
ABSTRACT The article is about the mini textile art development trends of the second half of the twentieth century as a scarcely studied branch of art. The transition from a large format textile to a miniature form developing as a separate variety is clarified. Recondite works of Eastern European artists are introduced through scholarly review for the first time. Artists from the USSR were under extraordinary pressure, and ideological prohibitions restricted artistic pursuits. However, Soviet artists managed to experiment, create and participate in exhibitions. The article contains an overview of the mini textile exhibitions in Hungary, Poland, Slovakia, Ukraine, the Baltics in the second half of the twentieth century. It includes an analysis of works of leading artists and the notable features of their artworks, rethinking and transforming folk art traditions. Three main directions characterize mini textile art of the period: a planar composition with a combination of traditional weaving techniques and textures; the semi-spatial relief images made of non-traditional and atypical materials; the creation of miniature art objects or spatial compositions from various materials. It is proved that mini textile art is an independent type of textiles and continues its development in the twenty-first century.
{"title":"Mini textile art in Eastern Europe: historical survey","authors":"Olha Lukovska, T. Kara-Vasylieva","doi":"10.1080/14702029.2021.2020591","DOIUrl":"https://doi.org/10.1080/14702029.2021.2020591","url":null,"abstract":"ABSTRACT The article is about the mini textile art development trends of the second half of the twentieth century as a scarcely studied branch of art. The transition from a large format textile to a miniature form developing as a separate variety is clarified. Recondite works of Eastern European artists are introduced through scholarly review for the first time. Artists from the USSR were under extraordinary pressure, and ideological prohibitions restricted artistic pursuits. However, Soviet artists managed to experiment, create and participate in exhibitions. The article contains an overview of the mini textile exhibitions in Hungary, Poland, Slovakia, Ukraine, the Baltics in the second half of the twentieth century. It includes an analysis of works of leading artists and the notable features of their artworks, rethinking and transforming folk art traditions. Three main directions characterize mini textile art of the period: a planar composition with a combination of traditional weaving techniques and textures; the semi-spatial relief images made of non-traditional and atypical materials; the creation of miniature art objects or spatial compositions from various materials. It is proved that mini textile art is an independent type of textiles and continues its development in the twenty-first century.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"2014 1","pages":"25 - 45"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87839035","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 : 2022-01-02DOI: 10.1080/14702029.2021.2020592
Michael Betancourt
ABSTRACT The contemporary digital video art genre of ‘Glitch Art’ enables artistic research with motion pictures to address liminal questions of articulation that were impossible in traditional analogue media. The Glitch Art technique of ‘datamoshing’ exploits the encoding of digital media to create a paradoxical separation of ‘image’ from ‘movement’ that demonstrates the central role of audience perception in parsing experience. This paper considers how artistic exploits of digital glitches enable novel analytic questions about the identification of kinesis and the role of the ‘frame’ and the ‘shot’ in cinematic articulation: [1] the relationship of the ‘long take’ where editing is minimized to the continuous progression of the ‘datastream’ in digital media, and [2] the role of differentiation between succeeding frames in the audience's identification/construction of ‘shots’ that are foundational to the technique of continuity editing.
{"title":"Glitch Art and the cinematic articulation of the ‘shot’: the convergence of datamoshing with the long take","authors":"Michael Betancourt","doi":"10.1080/14702029.2021.2020592","DOIUrl":"https://doi.org/10.1080/14702029.2021.2020592","url":null,"abstract":"ABSTRACT The contemporary digital video art genre of ‘Glitch Art’ enables artistic research with motion pictures to address liminal questions of articulation that were impossible in traditional analogue media. The Glitch Art technique of ‘datamoshing’ exploits the encoding of digital media to create a paradoxical separation of ‘image’ from ‘movement’ that demonstrates the central role of audience perception in parsing experience. This paper considers how artistic exploits of digital glitches enable novel analytic questions about the identification of kinesis and the role of the ‘frame’ and the ‘shot’ in cinematic articulation: [1] the relationship of the ‘long take’ where editing is minimized to the continuous progression of the ‘datastream’ in digital media, and [2] the role of differentiation between succeeding frames in the audience's identification/construction of ‘shots’ that are foundational to the technique of continuity editing.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"27 1","pages":"47 - 71"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90147632","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 : 2021-11-02DOI: 10.1080/14702029.2021.1981633
Zachary Hudson, A. Zandt, April Katz, W. Graves
ABSTRACT Washi is paper made by hand from the bark of native Japanese shrubs. Washi is a common medium used for printmaking and paper crafts. Artists who have studied nagashi-zuki, a sheet-forming method unique to washi, often import Japanese fibers because alternatives with similar properties have not been identified. We propose Dirca L. (leatherwood), a shrub endemic to North America, as a source of fibers with properties similar to those plants traditionally used to make washi. The thinness and strength of the leatherwood paper allows it to withstand repeated bending, folding and creasing better than paper made from species of Wikstroemia (Japanese fiber), suggesting an alternative for use with various printmaking techniques and paper arts and crafts that involve folding, such as origami. We engaged printmakers and origami artists in creating original pieces using our leatherwood paper and evaluated how the paper responds to various printmaking techniques and complex folding. We identified Dirca mexicana as a source of fibers with similar properties to species of Wikstroemia used to make gampi washi. Handmade D. mexicana bark paper was successfully used as a paper medium for intaglio, lithography, relief, digital, and screenprinting printmaking techniques, as well as, complex folding origami sculptures.
{"title":"From Dirca to design: printmaking with leatherwood (Dirca mexicana) bark paper","authors":"Zachary Hudson, A. Zandt, April Katz, W. Graves","doi":"10.1080/14702029.2021.1981633","DOIUrl":"https://doi.org/10.1080/14702029.2021.1981633","url":null,"abstract":"ABSTRACT Washi is paper made by hand from the bark of native Japanese shrubs. Washi is a common medium used for printmaking and paper crafts. Artists who have studied nagashi-zuki, a sheet-forming method unique to washi, often import Japanese fibers because alternatives with similar properties have not been identified. We propose Dirca L. (leatherwood), a shrub endemic to North America, as a source of fibers with properties similar to those plants traditionally used to make washi. The thinness and strength of the leatherwood paper allows it to withstand repeated bending, folding and creasing better than paper made from species of Wikstroemia (Japanese fiber), suggesting an alternative for use with various printmaking techniques and paper arts and crafts that involve folding, such as origami. We engaged printmakers and origami artists in creating original pieces using our leatherwood paper and evaluated how the paper responds to various printmaking techniques and complex folding. We identified Dirca mexicana as a source of fibers with similar properties to species of Wikstroemia used to make gampi washi. Handmade D. mexicana bark paper was successfully used as a paper medium for intaglio, lithography, relief, digital, and screenprinting printmaking techniques, as well as, complex folding origami sculptures.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"1 1","pages":"1 - 24"},"PeriodicalIF":0.0,"publicationDate":"2021-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77102142","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 : 2021-10-04DOI: 10.1080/14702029.2021.1975430
I. Heywood
ABSTRACT The article explores the implications of Giorgio Agamben’s The Man Without Content for beliefs necessary to visual art practice. It examines in particular Agamben’s critique of Kantian aesthetics and the use he makes of ideas of historicity. While Agamben has controversial but sometimes insightful and persuasive things to say about the modern art world, specifically aspects of making, spectating and exhibiting, his reading of Kant is distorted by his adoption of a technique of neutralising dialectical oppositions, and then his determination to find in key texts the grounds for this operation. At times Agamben’s critical judgements, uncorrected by the perspective of practice, are indiscriminate and insensitive, and it is difficult to see how his politics escapes quietism or apathy on the one hand or an unwitting convergence with Kantian notions of moral providence on the other.
{"title":"Theory and convictions of practice: Agamben on Kant and contemporary art","authors":"I. Heywood","doi":"10.1080/14702029.2021.1975430","DOIUrl":"https://doi.org/10.1080/14702029.2021.1975430","url":null,"abstract":"ABSTRACT The article explores the implications of Giorgio Agamben’s The Man Without Content for beliefs necessary to visual art practice. It examines in particular Agamben’s critique of Kantian aesthetics and the use he makes of ideas of historicity. While Agamben has controversial but sometimes insightful and persuasive things to say about the modern art world, specifically aspects of making, spectating and exhibiting, his reading of Kant is distorted by his adoption of a technique of neutralising dialectical oppositions, and then his determination to find in key texts the grounds for this operation. At times Agamben’s critical judgements, uncorrected by the perspective of practice, are indiscriminate and insensitive, and it is difficult to see how his politics escapes quietism or apathy on the one hand or an unwitting convergence with Kantian notions of moral providence on the other.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"80 1","pages":"283 - 304"},"PeriodicalIF":0.0,"publicationDate":"2021-10-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84840988","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 : 2021-10-02DOI: 10.1080/14702029.2021.1975424
Louisa Lee
{"title":"Autotheory as feminist practice in art, writing, and criticism","authors":"Louisa Lee","doi":"10.1080/14702029.2021.1975424","DOIUrl":"https://doi.org/10.1080/14702029.2021.1975424","url":null,"abstract":"","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"100 1","pages":"399 - 402"},"PeriodicalIF":0.0,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80909391","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 : 2021-10-02DOI: 10.1080/14702029.2021.1989737
Nahem Shoa
ABSTRACT Despite the various restrictions brought about by the Covid pandemic, Southampton City Art Gallery staged a year-long exhibition, ‘Face of Britain’ (September 2020–September 2021), curated by the artist Nahem Shoa. The exhibition brought together a number of outstanding portraits held by (or on loan to) the Gallery, of artists who painted British individuals from the seventeenth century to the present day. Importantly, however, these ‘canonical’ works from established collections were shown in confluence with a selection of Shoa’s own striking oil paintings of black sitters. In asking ‘head-to-head’ how diverse we are, it was a timely show, not least given the context of heightened debates of decolonisation, a growing acknowledgement of social inequities (further exposed by the Covid pandemic) and the newly emerging reality of a post-Brexit Britain. In this essay, Shoa offers a contextual account of the exhibition. It draws back to his development as an artist of mixed race in the early 1990s, and offers commentary on his major undertaking ‘Giant Heads’, as a means to establish just what it has meant to end up being the curator of a show entitled ‘Face of Britain’. Nahem Shoa, Daniel Sulleiman (2008) oil on canvas, 60.8 × 50.7 cm. GRAPHICAL ABSTRACT
{"title":"Face of Britain","authors":"Nahem Shoa","doi":"10.1080/14702029.2021.1989737","DOIUrl":"https://doi.org/10.1080/14702029.2021.1989737","url":null,"abstract":"ABSTRACT Despite the various restrictions brought about by the Covid pandemic, Southampton City Art Gallery staged a year-long exhibition, ‘Face of Britain’ (September 2020–September 2021), curated by the artist Nahem Shoa. The exhibition brought together a number of outstanding portraits held by (or on loan to) the Gallery, of artists who painted British individuals from the seventeenth century to the present day. Importantly, however, these ‘canonical’ works from established collections were shown in confluence with a selection of Shoa’s own striking oil paintings of black sitters. In asking ‘head-to-head’ how diverse we are, it was a timely show, not least given the context of heightened debates of decolonisation, a growing acknowledgement of social inequities (further exposed by the Covid pandemic) and the newly emerging reality of a post-Brexit Britain. In this essay, Shoa offers a contextual account of the exhibition. It draws back to his development as an artist of mixed race in the early 1990s, and offers commentary on his major undertaking ‘Giant Heads’, as a means to establish just what it has meant to end up being the curator of a show entitled ‘Face of Britain’. Nahem Shoa, Daniel Sulleiman (2008) oil on canvas, 60.8 × 50.7 cm. GRAPHICAL ABSTRACT","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"64 2-3 1","pages":"351 - 371"},"PeriodicalIF":0.0,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85493637","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 : 2021-10-02DOI: 10.1080/14702029.2021.1984690
I. Biggs
ABSTRACT This article reflects on the founding of the Journal of Visual Art Practice in 2001, as written from the perspective of the journal’s inaugural editor. The article provides a brief overview of the history and context to the development of the journal, which includes the role of the National Association for Fine Art Education, a prior, associated publication, Drawing Fire, and also, critically, the outcomes of the Jarratt Report (1985) in the UK, which led to the framing of art practice as ‘research’, and inclusion in national research audits. The article considers some of inner tensions at stake in establishing the journal and outlines the hopes for the journal as considered in its early years. It concludes with questions regarding the future of the journal as something, in the words of Bruno Latour, which might ‘cherish a maximum of alternative ways of belonging to the world’.
{"title":"A peripheral vision?","authors":"I. Biggs","doi":"10.1080/14702029.2021.1984690","DOIUrl":"https://doi.org/10.1080/14702029.2021.1984690","url":null,"abstract":"ABSTRACT This article reflects on the founding of the Journal of Visual Art Practice in 2001, as written from the perspective of the journal’s inaugural editor. The article provides a brief overview of the history and context to the development of the journal, which includes the role of the National Association for Fine Art Education, a prior, associated publication, Drawing Fire, and also, critically, the outcomes of the Jarratt Report (1985) in the UK, which led to the framing of art practice as ‘research’, and inclusion in national research audits. The article considers some of inner tensions at stake in establishing the journal and outlines the hopes for the journal as considered in its early years. It concludes with questions regarding the future of the journal as something, in the words of Bruno Latour, which might ‘cherish a maximum of alternative ways of belonging to the world’.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"44 1","pages":"317 - 322"},"PeriodicalIF":0.0,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74725399","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 : 2021-10-02DOI: 10.1080/14702029.2021.1988276
S. Manghani
ABSTRACT This article provides an account of the practice PhD in art and the nature of the debates surrounding its development and status. Primarily, the article is aimed at prospective and current PhD candidates (as well as supervisors), offering a critical approach to shaping and championing practice research. In helping to define the practice PhD, the article distinguishes between projects and practice and provides a reference to key debates. A catalogue of articles from Journal of Visual Art Practice is included in an appendix as part of wider encouragement for candidates to be critically informed about practice research and to help develop a literature review. The article ends with 8 practical steps for pursuing the practice PhD.
{"title":"Practice PhD toolkit","authors":"S. Manghani","doi":"10.1080/14702029.2021.1988276","DOIUrl":"https://doi.org/10.1080/14702029.2021.1988276","url":null,"abstract":"ABSTRACT This article provides an account of the practice PhD in art and the nature of the debates surrounding its development and status. Primarily, the article is aimed at prospective and current PhD candidates (as well as supervisors), offering a critical approach to shaping and championing practice research. In helping to define the practice PhD, the article distinguishes between projects and practice and provides a reference to key debates. A catalogue of articles from Journal of Visual Art Practice is included in an appendix as part of wider encouragement for candidates to be critically informed about practice research and to help develop a literature review. The article ends with 8 practical steps for pursuing the practice PhD.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"27 1","pages":"373 - 398"},"PeriodicalIF":0.0,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84914074","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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