Pub Date : 2021-04-03DOI: 10.1080/14702029.2021.1940454
N. McCartney, J. Tynan
ABSTRACT A surge in creative collaboration between fine artists and fashion designers might be troubling the art world, but these mergers have prompted little debate within academic research in the visual arts. Various artists now work directly with fashion designers, and though often derided by the art press, the growth of inter-disciplinary collaboration reflects a shift in how art is perceived, especially in relation to popular culture. This discussion considers historical moments when fashion and art found common cause, but we view the distinctive qualities of recent collaborative ventures as an entrenchment of postmodernist aesthetics in both realms. Since the mid-twentieth century, art-fashion interplays have disorganised disciplinary boundaries, but they also illustrate the unsettling effects of neoliberalism on cultural production. By exploring the fashioning of contemporary art through the work of various artists and designers, including Matthew Barney, Vanessa Beecroft and Yayoi Kusama, we ask whether shared concerns in art and design around power, spectacle and the somatic might signal the emergence of a new interdisciplinary aesthetics.
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Pub Date : 2021-04-03DOI: 10.1080/14702029.2021.1917906
B. Fredericks, Abraham Bradfield
ABSTRACT Alongside Toonooba (the Fitzroy River) in central Queensland, Australia, a series of flood markers are embedded within the earth, commanding attention to the river that flows on one side and the colonial infrastructure of Rockhampton on the other. Honouring Land Connections is an artwork that asserts Indigenous voices, marks Indigenous spaces, and encourages visitors to engage in conversation with Indigenous culture and art. This paper considers Indigenous art as a form of social action. Firstly, it discusses the value of such art projects, and presents an Indigenous perspective of their meaning, addresses their role in creating and embodying culture and identity, how they express and share culture, along with collaborative approaches, and the importance of learning on and from Country. It concludes with a discussion of the political and cultural meaning created through art, suggesting that it is impossible for a public artwork like Honouring Land Connections to not be political. This article explores how art facilitates an interactive social space through which Aboriginal artists affirm, negotiate and share their identities while challenging preconceptions of place and identities reminding us that Aboriginal presence outlasts the moment of its production and imprints itself on the landscape and people’s consciousness.
{"title":"Affirming Aboriginal identities: art production in central Queensland","authors":"B. Fredericks, Abraham Bradfield","doi":"10.1080/14702029.2021.1917906","DOIUrl":"https://doi.org/10.1080/14702029.2021.1917906","url":null,"abstract":"ABSTRACT Alongside Toonooba (the Fitzroy River) in central Queensland, Australia, a series of flood markers are embedded within the earth, commanding attention to the river that flows on one side and the colonial infrastructure of Rockhampton on the other. Honouring Land Connections is an artwork that asserts Indigenous voices, marks Indigenous spaces, and encourages visitors to engage in conversation with Indigenous culture and art. This paper considers Indigenous art as a form of social action. Firstly, it discusses the value of such art projects, and presents an Indigenous perspective of their meaning, addresses their role in creating and embodying culture and identity, how they express and share culture, along with collaborative approaches, and the importance of learning on and from Country. It concludes with a discussion of the political and cultural meaning created through art, suggesting that it is impossible for a public artwork like Honouring Land Connections to not be political. This article explores how art facilitates an interactive social space through which Aboriginal artists affirm, negotiate and share their identities while challenging preconceptions of place and identities reminding us that Aboriginal presence outlasts the moment of its production and imprints itself on the landscape and people’s consciousness.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"91 1","pages":"31 - 47"},"PeriodicalIF":0.0,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77538046","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 : 2021-04-03DOI: 10.1080/14702029.2021.1921484
Wang Jiabao
ABSTRACT In this article, I explore how Qiu Zhijie’s curation of the exhibition Continuum – Generation by Generation at the China Pavilion of the 57th Venice Biennale offers a new understanding of ‘China’ and ‘Chineseness’. It is neither a reproduction of literati arts nor a critical use of symbols of socialist China, but an appropriation of Chinese folk culture to re-envision the central role of China in the global art scene. This new form of Chineseness is what I call ‘folk culture China’. Although the curator attempts to challenge the existing interpretation of contemporary Chinese art widely circulated in the art market, the curatorial strategy deployed in this exhibition inherits a culturalist view of Chinese culture by re-nationalizing folk culture as the essence of Chinese culture that sustains Chinese civilization. Folk culture China also highlights the importance of collaboration between folk and contemporary artists in which the former can remind the latter of the collective spirit embodied in craftsmanship, which is the core of the Chinese mode of art-making. More importantly, folk culture China is an anti-nation-statist discourse that paradoxically repositions China from an object of the Euro-American-centric contemporary art system to the center of the world.
{"title":"Folk culture China in the China Pavilion, Venice Biennale: repositioning ‘Chineseness’ in contemporary art discourse","authors":"Wang Jiabao","doi":"10.1080/14702029.2021.1921484","DOIUrl":"https://doi.org/10.1080/14702029.2021.1921484","url":null,"abstract":"ABSTRACT In this article, I explore how Qiu Zhijie’s curation of the exhibition Continuum – Generation by Generation at the China Pavilion of the 57th Venice Biennale offers a new understanding of ‘China’ and ‘Chineseness’. It is neither a reproduction of literati arts nor a critical use of symbols of socialist China, but an appropriation of Chinese folk culture to re-envision the central role of China in the global art scene. This new form of Chineseness is what I call ‘folk culture China’. Although the curator attempts to challenge the existing interpretation of contemporary Chinese art widely circulated in the art market, the curatorial strategy deployed in this exhibition inherits a culturalist view of Chinese culture by re-nationalizing folk culture as the essence of Chinese culture that sustains Chinese civilization. Folk culture China also highlights the importance of collaboration between folk and contemporary artists in which the former can remind the latter of the collective spirit embodied in craftsmanship, which is the core of the Chinese mode of art-making. More importantly, folk culture China is an anti-nation-statist discourse that paradoxically repositions China from an object of the Euro-American-centric contemporary art system to the center of the world.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"1 1","pages":"81 - 96"},"PeriodicalIF":0.0,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81708180","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 : 2021-04-03DOI: 10.1080/14702029.2021.1917858
J. Parikka, A. Gil-Fournier
ABSTRACT Engaging with Harun Farocki’s notion of the soft montage, our visual essay builds on our recent Seed, Image, Ground video project (2020). Commissioned by the Fotomuseum Winterthur, the moving image piece addresses the surfaces of vegetal growth in relation to the surfaces of media such as screens and images. While the video is a central reference point for this visual essay, our aim is not so much to theorise our own moving images and their juxtapositions and rhythms. Instead, in this article, we present a series of surfaces and scales that appear in and through the images. Images build upon images and this constitutes the practice-led approach in the temporal unfolding of the video. In other words, the video works as a temporal articulation of image surfaces across and upon living surfaces. Hence the central motif of the video essay and this accompanying text is to ask ‘what do images of growth look like?’ We also employ Celia Lury’s notion of ‘problem space’ to consider the methodological potential in the split-screen practice and its relation to Farocki’s soft montage.
{"title":"An ecoaesthetic of vegetal surfaces: on Seed, Image, Ground as soft montage","authors":"J. Parikka, A. Gil-Fournier","doi":"10.1080/14702029.2021.1917858","DOIUrl":"https://doi.org/10.1080/14702029.2021.1917858","url":null,"abstract":"ABSTRACT Engaging with Harun Farocki’s notion of the soft montage, our visual essay builds on our recent Seed, Image, Ground video project (2020). Commissioned by the Fotomuseum Winterthur, the moving image piece addresses the surfaces of vegetal growth in relation to the surfaces of media such as screens and images. While the video is a central reference point for this visual essay, our aim is not so much to theorise our own moving images and their juxtapositions and rhythms. Instead, in this article, we present a series of surfaces and scales that appear in and through the images. Images build upon images and this constitutes the practice-led approach in the temporal unfolding of the video. In other words, the video works as a temporal articulation of image surfaces across and upon living surfaces. Hence the central motif of the video essay and this accompanying text is to ask ‘what do images of growth look like?’ We also employ Celia Lury’s notion of ‘problem space’ to consider the methodological potential in the split-screen practice and its relation to Farocki’s soft montage.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"22 1","pages":"16 - 30"},"PeriodicalIF":0.0,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74199433","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 : 2021-04-03DOI: 10.1080/14702029.2021.1917908
Vicente Pla-Vivas
ABSTRACT The popularisation of digital photography has widened the gap between mainstream photography and alternative photographic processes. Analyses of the so-called post-photographic era have largely ignored the production and reception mechanisms beyond the hegemonic digital turn. Likewise, scholars and artists working with alternative photography processes have focused on technical proficiency, separating themselves from the photographic ontological theories of the last decade. Nevertheless, some contemporary alternative processes photographers (such as Chris McCaw, Meghann Riepenhoff, Eduardo Nave, Thomas Bachler, and Susan Derges) attempt to emphasise the physicality of the chosen medium and to integrate it with the significance of the image through a methodological operation of the capture time. This article aims to review the theoretical frame of the post-photographic era to encompass the ideas and contributions of these alternative process photographers, focusing on the artists’ agency on photographic communication.
{"title":"Operating in alternative photography: agency through prolonged photographic acts","authors":"Vicente Pla-Vivas","doi":"10.1080/14702029.2021.1917908","DOIUrl":"https://doi.org/10.1080/14702029.2021.1917908","url":null,"abstract":"ABSTRACT The popularisation of digital photography has widened the gap between mainstream photography and alternative photographic processes. Analyses of the so-called post-photographic era have largely ignored the production and reception mechanisms beyond the hegemonic digital turn. Likewise, scholars and artists working with alternative photography processes have focused on technical proficiency, separating themselves from the photographic ontological theories of the last decade. Nevertheless, some contemporary alternative processes photographers (such as Chris McCaw, Meghann Riepenhoff, Eduardo Nave, Thomas Bachler, and Susan Derges) attempt to emphasise the physicality of the chosen medium and to integrate it with the significance of the image through a methodological operation of the capture time. This article aims to review the theoretical frame of the post-photographic era to encompass the ideas and contributions of these alternative process photographers, focusing on the artists’ agency on photographic communication.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"17 1 1","pages":"64 - 80"},"PeriodicalIF":0.0,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73236191","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 : 2021-04-03DOI: 10.1080/14702029.2021.1925856
A. Watson
ABSTRACT Paintings and other symbolised image systems contribute to the way we see and understand the world, however accurate or flawed they may be. My research contributes to this conversation by investigating how to make paintings that allow environments to be creative protagonists rather than passive objects of representation. I do this by drawing from the painting practices of Julie Mehretu and Ingrid Calame to look at how their work registers the experience of place and use these findings to guide my practice-based research, contextualised by ‘new materialist’ theory. The research shows how unpredictability in the process of painting allows the experience of place to be registered in ways that are responsive to materials and the site; how gesture is used to reveal something about the material and the immaterial world; and how the conversations happening between different levels of experience and modes of representation in the paintings help to yield a dense and complex view of place. Through this study, I have found that paintings can make manifest the relationships between process, gesture, environments and artists and in this way can reveal the experience of place in unexpected and multifarious ways. GRAPHICAL ABSTRACT
{"title":"Painting encounters with environments: experiencing the territory of familiar places","authors":"A. Watson","doi":"10.1080/14702029.2021.1925856","DOIUrl":"https://doi.org/10.1080/14702029.2021.1925856","url":null,"abstract":"ABSTRACT Paintings and other symbolised image systems contribute to the way we see and understand the world, however accurate or flawed they may be. My research contributes to this conversation by investigating how to make paintings that allow environments to be creative protagonists rather than passive objects of representation. I do this by drawing from the painting practices of Julie Mehretu and Ingrid Calame to look at how their work registers the experience of place and use these findings to guide my practice-based research, contextualised by ‘new materialist’ theory. The research shows how unpredictability in the process of painting allows the experience of place to be registered in ways that are responsive to materials and the site; how gesture is used to reveal something about the material and the immaterial world; and how the conversations happening between different levels of experience and modes of representation in the paintings help to yield a dense and complex view of place. Through this study, I have found that paintings can make manifest the relationships between process, gesture, environments and artists and in this way can reveal the experience of place in unexpected and multifarious ways. GRAPHICAL ABSTRACT","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"117 1","pages":"113 - 130"},"PeriodicalIF":0.0,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76936103","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 : 2021-04-03DOI: 10.1080/14702029.2021.1933835
I. Rozas
ABSTRACT This paper addresses the experiential field of artistic pieces that incline language and words to work from their sound, material and rhythmic dimension. They are poetic and sound works freed from the verticality, rectitude and weight of the semantic. In our ordinary experience of language we forget the physical existence of words, their sounds, their rhythms. Without that physicality, words become transparent, completely resolved into what they mean. To incline them means to give them sound and rhythm. It means to make them material, bringing them to our attention and reconnect with their physical existence: the possibility of becoming an image. From the concept of inclination developed by Adriana Cavarero as a relational model against verticality – to rethink a subjectivity marked by vulnerability – it is argued that inclining language, allows us to question ourselves about the ways in which sound relates to images, as it will be seen through works by Itziar Okariz and Gertrude Stein. A leaning that also dialogues with the ways of deviation from the established language proposed by Julia Kristeva and Hélène Cixous. In turn, we re-experience our relationship with the materiality of language, the act of listening, as well as the visuality of sounds.
本文从声音、材料和节奏的维度探讨了艺术作品的体验领域，这些作品倾向于语言和文字的工作。它们是诗意的、声音的作品，从语义的垂直、正直和重量中解放出来。在我们日常的语言体验中，我们忘记了单词的物理存在，它们的声音，它们的节奏。没有了这种物质性，词语变得透明，完全分解为它们的意思。使它们倾斜意味着赋予它们声音和节奏。这意味着使它们物质化，引起我们的注意，并重新与它们的物理存在联系起来:成为图像的可能性。从阿德里亚娜·卡瓦雷罗(Adriana Cavarero)提出的倾向概念作为反对垂直性的关系模型-重新思考以脆弱性为标志的主体性-认为倾向语言允许我们质疑自己关于声音与图像相关的方式，正如它将通过Itziar Okariz和Gertrude Stein的作品看到的那样。Julia Kristeva和h l Cixous提出的一种偏离既定语言的学习方式。反过来，我们重新体验我们与语言的物质性，倾听行为以及声音的视觉性的关系。
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Pub Date : 2021-04-03DOI: 10.1080/14702029.2021.1917907
Tereza Stejskalová
ABSTRACT The following essay explores a video installation by Berlin-based artist Candice Breitz (b. 1972) titled Labour (2019) which presents us with graphic images of childbirth in reverse viewed from close up. The work casts light on the absence of birthing bodies in photography, moving images or other forms of visual art presented at art institutions, a topic not reflected upon in academic literature. Also, by portraying childbirth simultaneously as dying and killing, Labour starkly differs from mainstream visual culture representations, which tend to evade the more messy and unruly aspect of childbirth. The author situates the work in the context of recent interventions in theory and literature as well as Labour's feminist art precursors. These art works present us with a fearless, uncensored picture of the reality of childbirth in which the possibility that lives are rerouted, and people are damaged both physically and mentally, is palpable. As testaments of traumatic events that resist erasure from memory, these objects of art dissociate themselves from the present dominant ideologies surrounding reproduction to gesture towards an alternative future in which conditions for reproduction would be radically different.
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Pub Date : 2020-11-25DOI: 10.1080/14702029.2020.1848282
S. Oscar
ABSTRACT David Claerbout is a contemporary artist working in the field of photography, film and digital animation, employing a range of aesthetic strategies to address shifting ideologies of vision: attention to light and time; the erasure of narrative in cinematic representation. This paper considers the political import of such strategies from an Australian perspective, in light of recent environmental catastrophe and extinction in the Anthropocene, whereby the depiction of worlds without humans occupies a space in the collective imagination signifying ruination. The paper examines Claerbout’s recent works, Olympia (the Real-Time Disintegration into Ruins of the Berlin Olympic Stadium over the Course of a Thousand Years) (2016) and The pure necessity (2016). It argues for the relevance of his work to posthumanist writings on extinction; for instance, Claire Colebrook and Joanna Zylinska, whereby the human desire to visualize ‘the world without us’ is problematized as an overtly anthropocentric celebration of human vision. I argue that Claerbout's expanded photo-filmic practice reveals how artistic production might tackle the problem of responsibly providing frameworks to consider the world outside of an anthropocentric viewpoint. Considering his work from such a framework, I ask, what does it take to represent the world without us?
David Claerbout是一位从事摄影、电影和数字动画领域的当代艺术家，他运用一系列美学策略来解决视觉意识形态的转变:关注光和时间;电影表现中对叙事的抹去。本文从澳大利亚的角度考虑了这种策略的政治意义，鉴于最近的环境灾难和人类世的灭绝，没有人类的世界的描绘在集体想象中占据了象征毁灭的空间。本文考察了克莱尔博特最近的作品《奥林匹亚》(一千年来柏林奥林匹克体育场的实时解体废墟)(2016)和《纯粹的必要性》(2016)。它论证了他的作品与后人类主义关于灭绝的著作的相关性;例如，克莱尔·科尔布鲁克和乔安娜·齐林斯卡，他们认为人类想要想象“没有我们的世界”的愿望被质疑为公然以人类为中心的人类视觉庆典。我认为，克莱尔布特扩展的摄影电影实践揭示了艺术生产如何负责任地提供框架来考虑人类中心主义观点之外的世界。从这样一个框架来考虑他的作品，我问，怎样才能表现没有我们的世界?
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Pub Date : 2020-10-01DOI: 10.1080/14702029.2020.1844945
Ellie Barrett
ABSTRACT Material has come to be acknowledged as an important source of political and social meaning due to recent philosophical and sociological debates concerning ‘material agency', particularly linked to theorists such as Alfred Gell, Bruno Latour and Jane Bennett. This has clear implications for art: it explores the effects material has on human behaviour and vice versa. In contrast, art criticism commonly positions material as secondary to metaphysical interpretation. Critics such as Rosalind Krauss and Lucy Lippard avoid analysing material's multiple sources of information. As a result, we as viewers are ill-equipped to examine the meanings it embodies. This paper presents sculpture as an appropriate framework from which to engage with this problem, as it remains a discipline which creatively explores material in three-dimensional space. Four themes have been developed from the analysis of qualitative interviews carried out with eight emerging UK sculptors in order to work towards a condition of ‘material literacy’ in contemporary art practice.
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