Pub Date : 2022-09-16DOI: 10.54503/2579-2830-2022.1(7)-39
Андрей Борисович Иванов
Статья посвящена роли скрипки в творческой биографии А.А. Спендиарова. Даётся обзор исполнительской деятельности Спендиарова-скрипача. Прослеживается история возникновения скрипичных миниатюр и их тематические особенности. Подчёркивается исключительная роль скрипки в драматургии оперы «Алмаст». Выявляются источники скрипичного стиля композитора, его связи с русской и французской композиторскими школами.
这篇文章是关于a . a . spendiarov创作传记中的小提琴角色的。这是斯宾塞拉小提琴手的表演。小提琴微缩模型的起源和主题特征可以追溯到。小提琴在歌剧《阿拉木图》中的特殊作用得到了强调。小提琴风格的来源，他与俄罗斯和法国作曲家学校的联系。
{"title":"Скрипичное наследие Александра Афанасьевича Спендиарова","authors":"Андрей Борисович Иванов","doi":"10.54503/2579-2830-2022.1(7)-39","DOIUrl":"https://doi.org/10.54503/2579-2830-2022.1(7)-39","url":null,"abstract":"Статья посвящена роли скрипки в творческой биографии А.А. Спендиарова. Даётся обзор исполнительской деятельности Спендиарова-скрипача. Прослеживается история возникновения скрипичных миниатюр и их тематические особенности. Подчёркивается исключительная роль скрипки в драматургии оперы «Алмаст». Выявляются источники скрипичного стиля композитора, его связи с русской и французской композиторскими школами.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"17 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80842841","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 : 2022-09-16DOI: 10.54503/2579-2830-2022.1(7)-79
Ա. Գ. Ասատրյան
2022 թ. մարտի 31-ին Արամ Խաչատրյան համերգասրահում տեղի ունեցավ ՀՀ ազգային հերոս, ԽՍՀՄ ժողովրդական արտիստ Հովհաննես Չեքիջյանի և Հայաստանի ազգային ակադեմիական երգչախմբի համերգը: Հնչեց Ջոակինո Ռոսինիի (1792-1868) «Stabat Mater»-ը՝ (1842) Հայաստանի ազգային ակադեմիական երգչախմբի և Հայաստանի ազգային ֆիլհարմոնիկ նվագախմբի, մենակատարներ Սոֆյա Սայադյանի (սոպրանո), Քրիստինե Սահակյանի (մեցցո-սոպրանո), Միքայել Գրիգորյանի (տենոր) և Պողոս Բիազբեկյանի (բաս) կատարմամբ: Դիրիժորական վահանակի մոտ էր Հովհաննես Չեքիջյանը: Ուսումնասիրությունում հայ երաժշտագիտության մեջ առաջին անգամ բացահայտվում է Հովհաննես Չեքիջյանի դերը Հայաստանում և Խորհրդային Միությունում Ռոսինիի «Stabat Mater»-ի համերգային կենսագրության մեջ: Շնորհիվ Հ. Չեքիջյանի և Հայաստանի ազգային ակադեմիական երգչախմբի` 1965 թ. նոյեմբերի 15-ին Երևանում առաջին անգամ հնչեց Ռոսինիի «Stabat Mater»-ը: Այն իր հաստատուն տեղը գտավ հայկական կապելլայի երկացանկում, որի շնորհիվ Հայաստանում «Stabat Mater»-ի համերգային կյանքը շարունակվում է մինչ օր: Երևանյան պրեմիերայից անմիջապես հետո՝ 1965 թ. դեկտեմբերի 27-ին և 28-ին, «Stabat Mater»-ն առաջին անգամ հնչեց Մոսկվայում՝ Հ. Չեքիջյանի և հայկական կապելլայի կատարմամբ տեղի ունեցավ «Stabat Mater»-ի համամիութենական պրեմիերան: Մոսկովյան պրեմիերային հաջորդեցին «Stabat Mater»-ի պրեմիերաները 1966 թվականին Լենինգրադում, մերձբալթյան հանրապետություններում, Ուկրաինայում և Բելոռուսիայում: Ռոսինիի «Stabat Mater»-ի չեքիջյանական մեկնաբանությունն առանձնանում է բարձր պրոֆեսիոնալիզմով և ինքնատիպությամբ:
{"title":"Ջոակինո Ռոսինիի «Stabat Mater»-ը Հովհաննես Չեքիջյանի մեկնաբանությամբ (նվիրվում է Ռոսինիի «Stabat Mater»-ի ստեղծման 180-ամյակին և Հայաստանի ազգային ակադեմիական երգչախմբի հիմնադրման 85-ամյակին)","authors":"Ա. Գ. Ասատրյան","doi":"10.54503/2579-2830-2022.1(7)-79","DOIUrl":"https://doi.org/10.54503/2579-2830-2022.1(7)-79","url":null,"abstract":"2022 թ. մարտի 31-ին Արամ Խաչատրյան համերգասրահում տեղի ունեցավ ՀՀ ազգային հերոս, ԽՍՀՄ ժողովրդական արտիստ Հովհաննես Չեքիջյանի և Հայաստանի ազգային ակադեմիական երգչախմբի համերգը: Հնչեց Ջոակինո Ռոսինիի (1792-1868) «Stabat Mater»-ը՝ (1842) Հայաստանի ազգային ակադեմիական երգչախմբի և Հայաստանի ազգային ֆիլհարմոնիկ նվագախմբի, մենակատարներ Սոֆյա Սայադյանի (սոպրանո), Քրիստինե Սահակյանի (մեցցո-սոպրանո), Միքայել Գրիգորյանի (տենոր) և Պողոս Բիազբեկյանի (բաս) կատարմամբ: Դիրիժորական վահանակի մոտ էր Հովհաննես Չեքիջյանը: Ուսումնասիրությունում հայ երաժշտագիտության մեջ առաջին անգամ բացահայտվում է Հովհաննես Չեքիջյանի դերը Հայաստանում և Խորհրդային Միությունում Ռոսինիի «Stabat Mater»-ի համերգային կենսագրության մեջ: Շնորհիվ Հ. Չեքիջյանի և Հայաստանի ազգային ակադեմիական երգչախմբի` 1965 թ. նոյեմբերի 15-ին Երևանում առաջին անգամ հնչեց Ռոսինիի «Stabat Mater»-ը: Այն իր հաստատուն տեղը գտավ հայկական կապելլայի երկացանկում, որի շնորհիվ Հայաստանում «Stabat Mater»-ի համերգային կյանքը շարունակվում է մինչ օր: Երևանյան պրեմիերայից անմիջապես հետո՝ 1965 թ. դեկտեմբերի 27-ին և 28-ին, «Stabat Mater»-ն առաջին անգամ հնչեց Մոսկվայում՝ Հ. Չեքիջյանի և հայկական կապելլայի կատարմամբ տեղի ունեցավ «Stabat Mater»-ի համամիութենական պրեմիերան: Մոսկովյան պրեմիերային հաջորդեցին «Stabat Mater»-ի պրեմիերաները 1966 թվականին Լենինգրադում, մերձբալթյան հանրապետություններում, Ուկրաինայում և Բելոռուսիայում: Ռոսինիի «Stabat Mater»-ի չեքիջյանական մեկնաբանությունն առանձնանում է բարձր պրոֆեսիոնալիզմով և ինքնատիպությամբ:","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"256 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73110358","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 : 2022-09-16DOI: 10.54503/2579-2830-2022.1(7)-140
Маргарита Рухкян
Четвертая симфония Эдуарда Айрапетяна (2016) подтвердила высокий уровень композиторского мастерства и таланта композитора. В ней сосредоточилось новое ощущение жизни народа на грани испытаний. Композитор внимательно вслушивается в жизнь. Он ищет и находит духовную опору в глубоком осознании роли искусства, музыки. Глубинные традиции музыкального творчества, симфонической музыки и жанра симфонии – неотъемлемые завоевания армянской музыки. Композитор в совершенстве владеет этим инструментарием. Его Четвертая симфония – новое достижение армянской музыкальной культуры. Четвертая симфония явно начинает новый период в творчестве Айрапетяна. Думается, это период обобщенного осмысления событий, включающих современную историю. Эта тема, давно освоенная в жанре симфонии, сегодня особенно актуальна, и композиторское участие в ее разработке в масштабах больших симфонических форм повысит градус национально-патриотического духа.
{"title":"Эдуард Айрапетян: Симфония № 4","authors":"Маргарита Рухкян","doi":"10.54503/2579-2830-2022.1(7)-140","DOIUrl":"https://doi.org/10.54503/2579-2830-2022.1(7)-140","url":null,"abstract":"Четвертая симфония Эдуарда Айрапетяна (2016) подтвердила высокий уровень композиторского мастерства и таланта композитора. В ней сосредоточилось новое ощущение жизни народа на грани испытаний. Композитор внимательно вслушивается в жизнь. Он ищет и находит духовную опору в глубоком осознании роли искусства, музыки. Глубинные традиции музыкального творчества, симфонической музыки и жанра симфонии – неотъемлемые завоевания армянской музыки. Композитор в совершенстве владеет этим инструментарием. Его Четвертая симфония – новое достижение армянской музыкальной культуры. Четвертая симфония явно начинает новый период в творчестве Айрапетяна. Думается, это период обобщенного осмысления событий, включающих современную историю. Эта тема, давно освоенная в жанре симфонии, сегодня особенно актуальна, и композиторское участие в ее разработке в масштабах больших симфонических форм повысит градус национально-патриотического духа.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"19 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82500397","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 : 2022-09-16DOI: 10.54503/2579-2830-2022.1(7)-179
Ararat Aghasyan
Among the first literary-and-art magazines of the late XIX – early XX centuries, which had played a noticeable role in nurturing aesthetic tastes of educated Armenians, one should name “Բանբեր գրականության և արվեստի [Herald of Literature and Art]” (Saint-Petersburg, 1903-1904) under the editorship of the outstanding Armenian historian and philologist Nikolay Adonts (Nikoghayos Ter-Avetikyan, 1871-1942). The ideological and aesthetic program of “Herald” was of a pronounced decadent nature, and this was declared both in the editor’s introductory note, signed by Nikolay Adonts, and in his article “Literary Essays: Decadence and Symbolism”. The same position was also held by the anonymous commentator of the art album, concluding the magazine, where, along with the works of such masters of Western European and Russian visual art as Dante-Gabriel Rossetti, Eugene Carriere, Arnold Böklin, Franz Stuck, Hans Thoma, Friedrich Kaulbach, Leon Bakst and others, paintings by Armenian artists were reproduced as well. However, only the works of E. Carriere’s pupil Arminia Babayan and F. Kaulbach’s pupil Vardges Surenyants could stand the proximity to the Europeans. Vardges Surenyants participated in selecting illustrations for “Herald”, too, giving preference to the Munich school of Jugendstil, with the early examples of which he had become acquainted in his student years in the Bavarian capital. The same spirit of Munich Jugendstil marked the graphic design of the magazine. The ideological and aesthetic program of Nikolay Adonts’s “Herald” was close to a number of foreign and Russian art editions, such as “La Revue blanche” and ”Art et décoration” in France, ”Pan”, ”Jugend”, ”Ver Sacrum”, ”Insel” in Germany and Austria, ”The Yellow Book” in England and particularly – “Mir iskusstva [World of Art]”, coming out in Saint-Petersburg from 1898. It ceased to exist in 1904, the same year as Nikolay Adonts’s magazine.
19世纪末至20世纪初，在培养受过教育的亚美尼亚人的审美情趣方面发挥了显著作用的第一批文学和艺术杂志中，应该有一个名字:《Բ》(圣彼得堡，1903-1904)，由杰出的亚美尼亚历史学家和语言学家Nikolay Adonts (Nikoghayos Ter-Avetikyan, 1871-1942)担任编辑。《先驱报》的意识形态和美学纲领具有明显的颓废性质，这在尼古拉·阿东茨(Nikolay Adonts)署名的编辑导言和他的文章《文学散文:颓废与象征主义》中都有体现。艺术专辑的匿名评论员也持有同样的立场，该杂志的结论是，除了西欧和俄罗斯视觉艺术大师的作品，如Dante-Gabriel Rossetti, Eugene Carriere, Arnold Böklin, Franz Stuck, Hans Thoma, Friedrich Kaulbach, Leon Bakst和其他人的作品外，亚美尼亚艺术家的画作也被复制。然而，只有E. Carriere的学生Arminia Babayan和F. Kaulbach的学生Vardges Surenyants的作品才能与欧洲人接近。Vardges Surenyants也参与了为“先驱”选择插图的工作，并优先考虑慕尼黑青年艺术学院，他在巴伐利亚首都的学生时代就已经熟悉了这些早期的例子。同样的慕尼黑青年精神仍然标志着杂志的平面设计。尼古拉·阿东茨的《先驱》的思想和美学纲领接近许多外国和俄罗斯的艺术版本，如法国的《白色的Revue》和《art et dsamcoration》，德国和奥地利的《Pan》、《Jugend》、《Ver Sacrum》、《Insel》，英国的《黄皮书》，特别是1898年在圣彼得堡出版的《Mir iskusstva(艺术世界)》。它与尼古拉·阿东茨的杂志同一年，于1904年停刊。
{"title":"On Ideological and Aesthetic Program of “Herald of Literature and Art” of Nikolay Adonts","authors":"Ararat Aghasyan","doi":"10.54503/2579-2830-2022.1(7)-179","DOIUrl":"https://doi.org/10.54503/2579-2830-2022.1(7)-179","url":null,"abstract":"Among the first literary-and-art magazines of the late XIX – early XX centuries, which had played a noticeable role in nurturing aesthetic tastes of educated Armenians, one should name “Բանբեր գրականության և արվեստի [Herald of Literature and Art]” (Saint-Petersburg, 1903-1904) under the editorship of the outstanding Armenian historian and philologist Nikolay Adonts (Nikoghayos Ter-Avetikyan, 1871-1942). The ideological and aesthetic program of “Herald” was of a pronounced decadent nature, and this was declared both in the editor’s introductory note, signed by Nikolay Adonts, and in his article “Literary Essays: Decadence and Symbolism”. The same position was also held by the anonymous commentator of the art album, concluding the magazine, where, along with the works of such masters of Western European and Russian visual art as Dante-Gabriel Rossetti, Eugene Carriere, Arnold Böklin, Franz Stuck, Hans Thoma, Friedrich Kaulbach, Leon Bakst and others, paintings by Armenian artists were reproduced as well. However, only the works of E. Carriere’s pupil Arminia Babayan and F. Kaulbach’s pupil Vardges Surenyants could stand the proximity to the Europeans. Vardges Surenyants participated in selecting illustrations for “Herald”, too, giving preference to the Munich school of Jugendstil, with the early examples of which he had become acquainted in his student years in the Bavarian capital. The same spirit of Munich Jugendstil marked the graphic design of the magazine. The ideological and aesthetic program of Nikolay Adonts’s “Herald” was close to a number of foreign and Russian art editions, such as “La Revue blanche” and ”Art et décoration” in France, ”Pan”, ”Jugend”, ”Ver Sacrum”, ”Insel” in Germany and Austria, ”The Yellow Book” in England and particularly – “Mir iskusstva [World of Art]”, coming out in Saint-Petersburg from 1898. It ceased to exist in 1904, the same year as Nikolay Adonts’s magazine.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"73 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76073167","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 aims to investigate the role of the photobook in architectural education and production through the case study of the publication One Year from Venice to India by the Land Route. 1956: Photosketches of a Slow Journey (2009). This engages with the formative travel overland from Venice to India (and back) undertaken in 1956 by the young Swiss architect Dolf Schnebli and his wife Clarissa Hall. The slow journey influenced the architect’s life, both in a general attitude as well as in his architectural practice. Among the different media used to collect memories from the journey – hand sketches, text, letters, photographs, objects – only black and white pictures shot by Dolf Schnebli’s Leica were included in the photobook. The architect referred to these images as photosketches, standing at the crossroads between a traditional hand-sketch and a photograph. In this essay the translation of the private memories collected in different sketchbooks into a published biographical photobook will be examined as a representation on the formative journey and as an educational tool itself. Article received: April 12, 2022; Article accepted: June 21, 2022; Published online: September 15, 2022; Original scholarly paper
{"title":"Pedagogical Potential of Dolf Schnebli’s Photobook. Learning From a Slow Journey and Its Media","authors":"Lucia Pennati","doi":"10.25038/am.v0i28.516","DOIUrl":"https://doi.org/10.25038/am.v0i28.516","url":null,"abstract":"This article aims to investigate the role of the photobook in architectural education and production through the case study of the publication One Year from Venice to India by the Land Route. 1956: Photosketches of a Slow Journey (2009). This engages with the formative travel overland from Venice to India (and back) undertaken in 1956 by the young Swiss architect Dolf Schnebli and his wife Clarissa Hall. The slow journey influenced the architect’s life, both in a general attitude as well as in his architectural practice. Among the different media used to collect memories from the journey – hand sketches, text, letters, photographs, objects – only black and white pictures shot by Dolf Schnebli’s Leica were included in the photobook. The architect referred to these images as photosketches, standing at the crossroads between a traditional hand-sketch and a photograph. In this essay the translation of the private memories collected in different sketchbooks into a published biographical photobook will be examined as a representation on the formative journey and as an educational tool itself. \u0000 \u0000Article received: April 12, 2022; Article accepted: June 21, 2022; Published online: September 15, 2022; Original scholarly paper","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90097788","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}
The basic thesis of the article is that in historical materialist theory a distinction can be made between the terms work and labor. Work refers to a specific activity – sewing, weaving, painting, sculpting. Labor refers to the social relationship, primarily between different social groups, i.e., classes – wage labor, serfdom, slavery, petty craftsmanship. Art history has approached the avant-garde mainly from the aspect of artistic work – for example, how the avant-garde transformed work in the domain of painting into work in the domain of three-dimensional construction. This article tries to think of the avant-garde as a phenomenon that has transformed art in terms of artistic labor. The basis is the transition from constructivism to productivism in Soviet art in the 1920s, and especially Boris Arvatov's theoretical postulates. Article received: March 12, 2022; Article accepted: June 21, 2022; Published online: September 15, 2022; Original scholarly paper
{"title":"Avant-Garde Transformation of Artistic Labor: The Productivist View of Boris Arvatov","authors":"Nikola Dedić","doi":"10.25038/am.v0i28.523","DOIUrl":"https://doi.org/10.25038/am.v0i28.523","url":null,"abstract":"The basic thesis of the article is that in historical materialist theory a distinction can be made between the terms work and labor. Work refers to a specific activity – sewing, weaving, painting, sculpting. Labor refers to the social relationship, primarily between different social groups, i.e., classes – wage labor, serfdom, slavery, petty craftsmanship. Art history has approached the avant-garde mainly from the aspect of artistic work – for example, how the avant-garde transformed work in the domain of painting into work in the domain of three-dimensional construction. This article tries to think of the avant-garde as a phenomenon that has transformed art in terms of artistic labor. The basis is the transition from constructivism to productivism in Soviet art in the 1920s, and especially Boris Arvatov's theoretical postulates. \u0000 \u0000Article received: March 12, 2022; Article accepted: June 21, 2022; Published online: September 15, 2022; Original scholarly paper","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"193 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77621473","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}
Several artists who take into consideration the existence of the Internet in their process of documenting the world remain faithful to the photography book. They find in the codex an experience that a screen remains incapable of providing. The adoption of the book by some documentarist artists engages appropriation practices from an ancient documentary project. War Primer 2 by Broomberg & Chanarin and Less Américains by Mishka Henner reproduce pre-existing books, respectively The ABC of War by Bertolt Brecht and The Americans by Robert Frank. The renewed interest of artists and photographers in books can be explained by a logic of comparison between the two media: the emergence of the web, with its formats and specificities, makes it possible to better appreciate, by analogy and distinction, what characterizes books and the web, and what makes their respective languages. However, rather than thinking of the modes of publication as alternatives, some of the artists merge their logic by resorting to online self-publishing platforms that allow the self-production and self-distribution of books. The artist Mishka Henner stands out in particular for his systematic production of books on self-publishing sites. Article received: March 31, 2022; Article accepted: June 21, 2022; Published online: September 15, 2022. Original scholarly paper
{"title":"The Persistence of the Documentary Photobook in the Age of the Web","authors":"J. Martin","doi":"10.25038/am.v0i28.518","DOIUrl":"https://doi.org/10.25038/am.v0i28.518","url":null,"abstract":"Several artists who take into consideration the existence of the Internet in their process of documenting the world remain faithful to the photography book. They find in the codex an experience that a screen remains incapable of providing. The adoption of the book by some documentarist artists engages appropriation practices from an ancient documentary project. War Primer 2 by Broomberg & Chanarin and Less Américains by Mishka Henner reproduce pre-existing books, respectively The ABC of War by Bertolt Brecht and The Americans by Robert Frank. The renewed interest of artists and photographers in books can be explained by a logic of comparison between the two media: the emergence of the web, with its formats and specificities, makes it possible to better appreciate, by analogy and distinction, what characterizes books and the web, and what makes their respective languages. \u0000However, rather than thinking of the modes of publication as alternatives, some of the artists merge their logic by resorting to online self-publishing platforms that allow the self-production and self-distribution of books. The artist Mishka Henner stands out in particular for his systematic production of books on self-publishing sites. \u0000 \u0000Article received: March 31, 2022; Article accepted: June 21, 2022; Published online: September 15, 2022. Original scholarly paper","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"18 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82350928","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 this article, speculative virontology refers to a form of thought that revalues the biontological framework present in current queer theoretical and new materialist thinking. Using an archive of horror films, Paul Golding’s Pulse from 1988 in particular, this article points toward malevolent infrastructure – the conceptualization of matter that is performatively terrorizing the closedness of mutually constitutive design of infrastructural intimacy and the immanence of biontology. Both intimacy and immanence depend on production of space and time which exclude forms of life that are not white middle-class cisnormative (re)productive heterosexuality and thus deemed not properly alive and outside of Being. The figure of the Virus upsets these processes of exclusion and divisions, and reorders conceptuality away from immanence and biontology toward what is non-biontological, toward that which is neither Life nor Nonlife.
{"title":"Speculative Virontology: Malevolent Infrastructure against the Design of Infrastructural Intimacy in Pulse","authors":"A. Filipović","doi":"10.25038/am.v0i28.525","DOIUrl":"https://doi.org/10.25038/am.v0i28.525","url":null,"abstract":"In this article, speculative virontology refers to a form of thought that revalues the biontological framework present in current queer theoretical and new materialist thinking. Using an archive of horror films, Paul Golding’s Pulse from 1988 in particular, this article points toward malevolent infrastructure – the conceptualization of matter that is performatively terrorizing the closedness of mutually constitutive design of infrastructural intimacy and the immanence of biontology. Both intimacy and immanence depend on production of space and time which exclude forms of life that are not white middle-class cisnormative (re)productive heterosexuality and thus deemed not properly alive and outside of Being. The figure of the Virus upsets these processes of exclusion and divisions, and reorders conceptuality away from immanence and biontology toward what is non-biontological, toward that which is neither Life nor Nonlife.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"108 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86709251","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":"Unwanted Musical Residues","authors":"Maja Bosnić","doi":"10.25038/am.v0i28.526","DOIUrl":"https://doi.org/10.25038/am.v0i28.526","url":null,"abstract":"<jats:p>/</jats:p>","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"140 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91062367","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}
“A child’s hands” was chosen as the cover image for a monograph by photographer Aenne Biermann (1898–1933), published in Weimar Germany (1930) as part of a small series of paperback publications edited by Franz Roh and Jan Tschichold. Volume 1 of the same series, also published in 1930, was dedicated to photography by László Moholy-Nagy, who in a different context had advocated for photographic literacy. Even though Biermann was published amongst the forerunners of the New Vision, as evidenced by her photobook 60 Photos, she had been forgotten for a long time. By calling attention to her photographic oeuvre, my essay poses questions about the mechanisms of writing photobook history (and which books are omitted from it). In the discourse surrounding the photobook, the child’s hand as depicted on the cover is viewed as a symbol of the activity that the photobook unleashes, both as a tangible object and as a thinking device. Biermann’s photo-constellations oscillate between training manual and atlas for seeing, between perception primer and picture book; they offer a surprisingly humorous complexity, taking full advantage of the photobook as a medium of artistic expression. Acknowledgments: This paper is based in part on arguments first developed in my PhD dissertation Schools for Seeing: German Photobooks between 1924 and 1937 as Perception Primers and Sites of Knowledge (Princeton University, 2015), as well as my ABC der Photographie. Photobücher der Weimarer Republik als Schulen des Sehens [ABC of Photography. Photobooks of the Weimar Republic as Schools for Seeing] (Cologne: Walther König, 2018). Thanks to Vreni Hockenjos for the invitation to present at FotoWien in March 2022, where I took part in a panel entitled “Beyond the Margins: on Photobooks by Women”. Her research and thoughts on photobooks are invaluable. Thanks also to Michael Jennings, Sigrid Weigel, Devin Fore, Eduardo Cadava, and Barbara N. Nagel for supporting earlier thoughts on this topic in my dissertation, and to Catherine Abou-Nemeh for reading a draft version of this paper. I am grateful to Annette Kicken and the late Rudolf Kicken, as well as Petra Helck, Anna Kröger and Ina Schmidt-Runke of Gallery Kicken Berlin for introducing me to Aenne Biermann’s photographs already in 2006. The author acknowledges the support of the Cluster of Excellence “Matters of Activity. Image Space Material” funded by the Deutsche Forschungsgemeinschaft (DFG, German Research Foundation) under Germany’s Excellence Strategy – EXC 2025 – 390648296. Article received: April 15, 2022; Article accepted: June 21, 2022; Published online: September 15, 2022; Original scholarly paper
“孩子的手”被选为摄影师Aenne Biermann(1898-1933)的专著的封面图片，该专著于1930年在德国魏玛出版，是Franz Roh和Jan Tschichold编辑的小系列平装出版物的一部分。同一系列的第一卷，也在1930年出版，致力于László Moholy-Nagy的摄影，他在不同的背景下提倡摄影素养。尽管比尔曼是新视野的先驱之一，她的摄影集《60张照片》证明了这一点，但她已经被遗忘了很长时间。通过引起人们对她的摄影作品的关注，我的文章提出了关于撰写摄影书历史的机制的问题(以及哪些书被遗漏了)。在围绕摄影书的讨论中，封面上描绘的孩子的手被视为摄影书所释放的活动的象征，既是有形的物体，也是一种思维工具。比尔曼的照片星座在训练手册和视觉地图集之间摇摆，在感知入门和绘本之间摇摆;它们提供了一种令人惊讶的幽默复杂性，充分利用了照相簿作为艺术表达的媒介。致谢:本文部分基于我的博士论文《视觉学校:1924年至1937年间作为感知入门和知识场所的德国摄影集》(普林斯顿大学，2015年)以及我的ABC der photography中首先提出的论点。photo bcher der Weimarer Republik als Schulen des Sehens [ABC摄影]。《魏玛共和国作为视觉学校的摄影集》(科隆:Walther König, 2018)。感谢Vreni Hockenjos邀请我出席2022年3月的维也纳摄影展，在那里我参加了一个名为“超越边缘:女性摄影集”的小组讨论。她对摄影集的研究和想法是无价的。还要感谢Michael Jennings, Sigrid Weigel, Devin Fore, Eduardo Cadava和Barbara N. Nagel在我的论文中支持关于这个主题的早期想法，并感谢Catherine Abou-Nemeh阅读本文的草稿。我要感谢柏林Kicken画廊的Annette Kicken和已故的Rudolf Kicken，以及Petra Helck, Anna Kröger和Ina Schmidt-Runke，他们早在2006年就向我介绍了Aenne Biermann的照片。作者感谢卓越集群“活动事项”的支持。“图像空间材料”由德国卓越战略(EXC 2025 - 390648296)下的德国研究基金会(DFG)资助。收稿日期:2022年4月15日;录用日期:2022年6月21日;在线发布:2022年9月15日;原创学术论文
{"title":"Don’t Judge a Book by Its Cover: Aenne Biermann’s 60 Photos","authors":"Mareike Stoll","doi":"10.25038/am.v0i28.515","DOIUrl":"https://doi.org/10.25038/am.v0i28.515","url":null,"abstract":"“A child’s hands” was chosen as the cover image for a monograph by photographer Aenne Biermann (1898–1933), published in Weimar Germany (1930) as part of a small series of paperback publications edited by Franz Roh and Jan Tschichold. Volume 1 of the same series, also published in 1930, was dedicated to photography by László Moholy-Nagy, who in a different context had advocated for photographic literacy. Even though Biermann was published amongst the forerunners of the New Vision, as evidenced by her photobook 60 Photos, she had been forgotten for a long time. By calling attention to her photographic oeuvre, my essay poses questions about the mechanisms of writing photobook history (and which books are omitted from it). In the discourse surrounding the photobook, the child’s hand as depicted on the cover is viewed as a symbol of the activity that the photobook unleashes, both as a tangible object and as a thinking device. Biermann’s photo-constellations oscillate between training manual and atlas for seeing, between perception primer and picture book; they offer a surprisingly humorous complexity, taking full advantage of the photobook as a medium of artistic expression. \u0000Acknowledgments: This paper is based in part on arguments first developed in my PhD dissertation Schools for Seeing: German Photobooks between 1924 and 1937 as Perception Primers and Sites of Knowledge (Princeton University, 2015), as well as my ABC der Photographie. Photobücher der Weimarer Republik als Schulen des Sehens [ABC of Photography. Photobooks of the Weimar Republic as Schools for Seeing] (Cologne: Walther König, 2018). Thanks to Vreni Hockenjos for the invitation to present at FotoWien in March 2022, where I took part in a panel entitled “Beyond the Margins: on Photobooks by Women”. Her research and thoughts on photobooks are invaluable. Thanks also to Michael Jennings, Sigrid Weigel, Devin Fore, Eduardo Cadava, and Barbara N. Nagel for supporting earlier thoughts on this topic in my dissertation, and to Catherine Abou-Nemeh for reading a draft version of this paper. I am grateful to Annette Kicken and the late Rudolf Kicken, as well as Petra Helck, Anna Kröger and Ina Schmidt-Runke of Gallery Kicken Berlin for introducing me to Aenne Biermann’s photographs already in 2006. The author acknowledges the support of the Cluster of Excellence “Matters of Activity. Image Space Material” funded by the Deutsche Forschungsgemeinschaft (DFG, German Research Foundation) under Germany’s Excellence Strategy – EXC 2025 – 390648296. \u0000Article received: April 15, 2022; Article accepted: June 21, 2022; Published online: September 15, 2022; Original scholarly paper","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"5 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73628534","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：