This article highlights a time when Northern artists were no longer allowed to paint or carve holy images as they had done during the Middle Ages and the Renaissance. The Catholic Church banned this art form due to the interpretation of the second commandment: ‘Thou shalt make no graven image of thy God’. Genre paintings were the outcome of this banishment and a way to represent and depict an everyday life scene in a Dutch seventeenth-century household. The paintings would show the best of a situation and also its worst counterpart in almost a mocking comical way. By exploring these paintings, we come to understand how women were fed propaganda into becoming a better housewife, mother and bearing the weight of physical nourisher to all. Although amusing, the images have been celebrated and considered legendary during the Golden Age of the Netherlands. While taking a closer look at genre paintings and the everyday practices of the Dutch household, we can connect patterns to how these paintings affected women and influenced their domestic duties in the Golden Age.
{"title":"Cinderella! Cinderella!: A closer look into Dutch seventeenth-century gender roles and genre paintings","authors":"Katie Downs","doi":"10.1386/vi_00016_1","DOIUrl":"https://doi.org/10.1386/vi_00016_1","url":null,"abstract":"This article highlights a time when Northern artists were no longer allowed to paint or carve holy images as they had done during the Middle Ages and the Renaissance. The Catholic Church banned this art form due to the interpretation of the second commandment: ‘Thou shalt make\u0000 no graven image of thy God’. Genre paintings were the outcome of this banishment and a way to represent and depict an everyday life scene in a Dutch seventeenth-century household. The paintings would show the best of a situation and also its worst counterpart in almost a mocking comical\u0000 way. By exploring these paintings, we come to understand how women were fed propaganda into becoming a better housewife, mother and bearing the weight of physical nourisher to all. Although amusing, the images have been celebrated and considered legendary during the Golden Age of the Netherlands.\u0000 While taking a closer look at genre paintings and the everyday practices of the Dutch household, we can connect patterns to how these paintings affected women and influenced their domestic duties in the Golden Age.","PeriodicalId":41039,"journal":{"name":"Visual Inquiry-Learning & Teaching Art","volume":"57 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78623504","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 examines the use of the everyday household object and historical icons used in the assemblage work of artist Betye Saar, and how when juxtaposed alongside one another create a meaningful narrative. The specific work being analysed is Saar’s installation piece I’ll Bend But I Will Not Break from 1998. In deconstructing the visual elements of this artwork their individual meanings can be deciphered and then analysed when looked at holistically. Using a semiotic approach to these visual elements creates individual meanings that collectively transform the artwork into a larger narrative, layered with significance and feminist and activist undertones.
{"title":"Of everyday objects and icons: A closer look at Betye Saar’s I’ll Bend But I Will Not Break","authors":"Julie Ganas","doi":"10.1386/vi_00017_1","DOIUrl":"https://doi.org/10.1386/vi_00017_1","url":null,"abstract":"This article examines the use of the everyday household object and historical icons used in the assemblage work of artist Betye Saar, and how when juxtaposed alongside one another create a meaningful narrative. The specific work being analysed is Saar’s installation piece I’ll\u0000 Bend But I Will Not Break from 1998. In deconstructing the visual elements of this artwork their individual meanings can be deciphered and then analysed when looked at holistically. Using a semiotic approach to these visual elements creates individual meanings that collectively transform\u0000 the artwork into a larger narrative, layered with significance and feminist and activist undertones.","PeriodicalId":41039,"journal":{"name":"Visual Inquiry-Learning & Teaching Art","volume":"20 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80479385","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}
Through the examination of the artwork of Maria Berrio, parallels are drawn between her work, entitled El Cielo Tiene Jardines, and the 2019 political climate under Donald Trump. With the intention of linking the rise of feminism to Trump’s presence in office as president of the United States, specifically through examples of his sexism, narcissism and preference for patriarchy, this is approached through the metaphors of Berrio’s painting. In retaliation to the upswing of sexism, narcissism and patriarchy coming from the White House, each element examined in the artwork is meant to describe the relationship to Donald Trump’s personality cult as well as the corresponding reaction of anti-Trumpian groups, particularly feminists, as well as prescribers to psychoanalytic theory. Examples are cited from Trump’s presence in the media, including tweets, personal statements and historical evidence supporting the arguments made. Topics of neo-colonialism, the American Dream and the generalization of the female desire to remove herself from the submissive role of patriarchal assignment are also discussed. With what was being hailed as Third Wave Feminism, beginning with the Woman’s March of 2017, these aspects of Trumpian character and behaviour are described through the model of Berrio’s stunning mix-media painting and are meant to appeal to readers through both feminist and psychoanalytical analyses.
通过对Maria Berrio的艺术作品的研究，她的作品El Cielo Tiene Jardines与唐纳德·特朗普领导下的2019年政治气候之间的相似之处。为了将女权主义的兴起与特朗普作为美国总统的存在联系起来，特别是通过他的性别歧视、自恋和对父权制的偏好的例子，这是通过贝里奥的绘画的隐喻来实现的。为了报复来自白宫的性别歧视、自恋和父权制的抬头，艺术品中考察的每一个元素都是为了描述与唐纳德·特朗普个人崇拜的关系，以及反特朗普团体的相应反应，尤其是女权主义者，以及精神分析理论的处方者。文中引用了特朗普出现在媒体上的例子，包括推文、个人声明和支持其论点的历史证据。书中还讨论了新殖民主义、美国梦以及将女性从男权分配的顺从角色中解脱出来的愿望普遍化等话题。从2017年的女性大游行开始，被称为第三波女权主义，通过贝里奥令人惊叹的混合媒体绘画模型来描述特朗普性格和行为的这些方面，旨在通过女权主义和精神分析来吸引读者。
{"title":"Shrugging off the tiger: Examining the state of contemporary feminism in the Trumpian era through Maria Berrio’s El Cielo Tiene Jardines","authors":"Samantha Wahlen","doi":"10.1386/vi_00020_1","DOIUrl":"https://doi.org/10.1386/vi_00020_1","url":null,"abstract":"Through the examination of the artwork of Maria Berrio, parallels are drawn between her work, entitled El Cielo Tiene Jardines, and the 2019 political climate under Donald Trump. With the intention of linking the rise of feminism to Trump’s presence in office as president\u0000 of the United States, specifically through examples of his sexism, narcissism and preference for patriarchy, this is approached through the metaphors of Berrio’s painting. In retaliation to the upswing of sexism, narcissism and patriarchy coming from the White House, each element examined\u0000 in the artwork is meant to describe the relationship to Donald Trump’s personality cult as well as the corresponding reaction of anti-Trumpian groups, particularly feminists, as well as prescribers to psychoanalytic theory. Examples are cited from Trump’s presence in the media,\u0000 including tweets, personal statements and historical evidence supporting the arguments made. Topics of neo-colonialism, the American Dream and the generalization of the female desire to remove herself from the submissive role of patriarchal assignment are also discussed. With what was being\u0000 hailed as Third Wave Feminism, beginning with the Woman’s March of 2017, these aspects of Trumpian character and behaviour are described through the model of Berrio’s stunning mix-media painting and are meant to appeal to readers through both feminist and psychoanalytical\u0000 analyses.","PeriodicalId":41039,"journal":{"name":"Visual Inquiry-Learning & Teaching Art","volume":"217 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74172001","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 closely examines a work of art in light of the politics, popular culture and social dynamics surrounding its maker. Through a close examination of the formal elements and signs included in Sarah Maple’s 2007 self-portrait photograph, Fighting Fire with Fire No. 2, feminist values are explored using a semiotic analysis. In the end, the article champions Sarah Maple’s work as a powerful commentary that combats Muslim stereotypes and liberates women from social and religious taboos.
这篇文章从政治、流行文化和围绕其创作者的社会动态的角度来仔细研究一件艺术作品。通过对Sarah Maple 2007年的自焚照片《以火救火2号》中的形式元素和符号的仔细研究，运用符号学分析探讨了女权主义的价值。最后，这篇文章赞扬了Sarah Maple的作品，认为这是一篇有力的评论，反对穆斯林的刻板印象，并将女性从社会和宗教禁忌中解放出来。
{"title":"A twenty-first-century torch of freedom for Muslim women: Sarah Maple’s Fighting Fire with Fire No. 2","authors":"J. Heins","doi":"10.1386/vi_00018_1","DOIUrl":"https://doi.org/10.1386/vi_00018_1","url":null,"abstract":"This article closely examines a work of art in light of the politics, popular culture and social dynamics surrounding its maker. Through a close examination of the formal elements and signs included in Sarah Maple’s 2007 self-portrait photograph, Fighting Fire with Fire No.\u0000 2, feminist values are explored using a semiotic analysis. In the end, the article champions Sarah Maple’s work as a powerful commentary that combats Muslim stereotypes and liberates women from social and religious taboos.","PeriodicalId":41039,"journal":{"name":"Visual Inquiry-Learning & Teaching Art","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86945269","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}
Review of: Anni Albers, Ann Coxon, Briony Fer and Maria Müller-Schareck (eds) (2018)London: Yale University Press in association with Tate Publishing, 192 pp., 190 colour illus.,ISBN 978-0-30023-725-2, h/bk, £38.27/$50.00
{"title":"Anni Albers, Ann Coxon, Briony Fer and Maria Müller-Schareck (eds) (2018)","authors":"Lauren Bothe","doi":"10.1386/vi_00021_5","DOIUrl":"https://doi.org/10.1386/vi_00021_5","url":null,"abstract":"Review of: Anni Albers, Ann Coxon, Briony Fer and Maria Müller-Schareck (eds) (2018)London: Yale University Press in association with Tate Publishing, 192 pp., 190 colour illus.,ISBN 978-0-30023-725-2, h/bk, £38.27/$50.00","PeriodicalId":41039,"journal":{"name":"Visual Inquiry-Learning & Teaching Art","volume":"9 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80898454","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 examines the concepts of past, present and future in Charles Dickens’s A Christmas Carol. The primary focus is a semiotic evaluation of the three spirits that visit Ebenezer Scrooge, the main protagonist of the story. Dickens’s narrative is juxtaposed with the illustrations by John Leech that accompanied the story in the original publication from 1843; the purpose of this is to demonstrate how the concepts within Dickens’s narrative are translated visually. While A Christmas Carol is nearly two centuries old, this article highlights the influence of Dickens’s narrative and Leech’s illustrations on the contemporary understandings of past, present and future.
{"title":"Past, present and future: A semiotic analysis of Charles Dickens’s A Christmas Carol","authors":"Kate Andress","doi":"10.1386/vi_00015_1","DOIUrl":"https://doi.org/10.1386/vi_00015_1","url":null,"abstract":"This article examines the concepts of past, present and future in Charles Dickens’s A Christmas Carol. The primary focus is a semiotic evaluation of the three spirits that visit Ebenezer Scrooge, the main protagonist of the story. Dickens’s narrative is juxtaposed\u0000 with the illustrations by John Leech that accompanied the story in the original publication from 1843; the purpose of this is to demonstrate how the concepts within Dickens’s narrative are translated visually. While A Christmas Carol is nearly two centuries old, this article highlights\u0000 the influence of Dickens’s narrative and Leech’s illustrations on the contemporary understandings of past, present and future.","PeriodicalId":41039,"journal":{"name":"Visual Inquiry-Learning & Teaching Art","volume":"31 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81477672","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}
Review of: Going All City: Struggle and Survival in LA’s Graffiti Subculture, Stefano Bloch (2020)Chicago, IL: University of Chicago Press, 240 pp.,ISBN 978-0-22649-358-9, p/bk, $11.49
{"title":"Going All City: Struggle and Survival in LA’s Graffiti Subculture, Stefano Bloch (2020)","authors":"Jeffrey Ian Ross","doi":"10.1386/vi_00013_5","DOIUrl":"https://doi.org/10.1386/vi_00013_5","url":null,"abstract":"Review of: Going All City: Struggle and Survival in LA’s Graffiti Subculture, Stefano Bloch (2020)Chicago, IL: University of Chicago Press, 240 pp.,ISBN 978-0-22649-358-9, p/bk, $11.49","PeriodicalId":41039,"journal":{"name":"Visual Inquiry-Learning & Teaching Art","volume":"31 1","pages":"98-100"},"PeriodicalIF":0.2,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88237102","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}
Meanings and functions of street art have, in recent decades, diversified in the United States as well as globally. Today, we find street art initiatives and mural festivals in many cities, where they are applauded for fostering local development and tourism while also producing less tangible branding and marketing outcomes. Our research, based on ethnographic fieldwork and secondary data analysis in three Florida cities, suggests that street art initiatives can indeed become, in essence, handmaids to real estate development; however, the degree to which this is the case is variable, and it is by no means inevitable that the only long-term outcome will be the cultural obliteration and physical displacement of current residents. The article’s analysis describes and compares mural scenes in key redeveloping neighbourhoods in three Florida cities (Tampa, St. Petersburg and Miami) that, we argue, represent a diversity, and perhaps even a trajectory, of cities’ appropriation of street art as a development tool.
{"title":"Bohemia growth machine: Street art as an urban development tool in Florida","authors":"Elizabeth Strom, Margarethe Kusenbach","doi":"10.1386/vi_00010_1","DOIUrl":"https://doi.org/10.1386/vi_00010_1","url":null,"abstract":"Meanings and functions of street art have, in recent decades, diversified in the United States as well as globally. Today, we find street art initiatives and mural festivals in many cities, where they are applauded for fostering local development and tourism while also producing less\u0000 tangible branding and marketing outcomes. Our research, based on ethnographic fieldwork and secondary data analysis in three Florida cities, suggests that street art initiatives can indeed become, in essence, handmaids to real estate development; however, the degree to which this is the case\u0000 is variable, and it is by no means inevitable that the only long-term outcome will be the cultural obliteration and physical displacement of current residents. The article’s analysis describes and compares mural scenes in key redeveloping neighbourhoods in three Florida cities (Tampa,\u0000 St. Petersburg and Miami) that, we argue, represent a diversity, and perhaps even a trajectory, of cities’ appropriation of street art as a development tool.","PeriodicalId":41039,"journal":{"name":"Visual Inquiry-Learning & Teaching Art","volume":"48 1","pages":"59-78"},"PeriodicalIF":0.2,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84302685","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 considers how the monetization of the street art world is affecting the ecosystem of expressions found in the street. It takes as a point of departure that a central quality of street art is its potential to turn public space into a site of exploration. What is meant by this, briefly, is that the presence of ephemeral street art can motivate people to explore their surroundings and perhaps question how public space is being used and how they want it to be used. This article argues that the ongoing monetization of the street art world may lead to the fossilization of urban public space – a situation where the otherwise constant flux of visual expressions in the street may come to a halt as the growing presence of sanctioned work, along with potential financial interests in placating facilitators of such work, means that fewer spaces are available for unsanctioned interventions. This fossilization of urban public space can negatively impact street-based art’s potential to influence how we think about our environs, as well as the possibilities for emerging artists to hone their skills in the street without curatorial restrictions.
{"title":"The monetization of the street art world and the fossilization of urban public space","authors":"Peter Bengtsen","doi":"10.1386/vi_00009_1","DOIUrl":"https://doi.org/10.1386/vi_00009_1","url":null,"abstract":"This article considers how the monetization of the street art world is affecting the ecosystem of expressions found in the street. It takes as a point of departure that a central quality of street art is its potential to turn public space into a site of exploration. What is meant by this, briefly, is that the presence of ephemeral street art can motivate people to explore their surroundings and perhaps question how public space is being used and how they want it to be used. This article argues that the ongoing monetization of the street art world may lead to the fossilization of urban public space – a situation where the otherwise constant flux of visual expressions in the street may come to a halt as the growing presence of sanctioned work, along with potential financial interests in placating facilitators of such work, means that fewer spaces are available for unsanctioned interventions. This fossilization of urban public space can negatively impact street-based art’s potential to influence how we think about our environs, as well as the possibilities for emerging artists to hone their skills in the street without curatorial restrictions.","PeriodicalId":41039,"journal":{"name":"Visual Inquiry-Learning & Teaching Art","volume":"159 1","pages":"45-58"},"PeriodicalIF":0.2,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83845428","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}
Review of: The City Beneath: A Century of Los Angeles Graffiti, Susan A. Phillips (2019)New Haven: Yale University Press, 320 pp.,ISBN 978-0-30024-603-2, h/bk, $50
{"title":"The City Beneath: A Century of Los Angeles Graffiti, Susan A. Phillips (2019)","authors":"J. Lennon","doi":"10.1386/vi_00012_5","DOIUrl":"https://doi.org/10.1386/vi_00012_5","url":null,"abstract":"Review of: The City Beneath: A Century of Los Angeles Graffiti, Susan A. Phillips (2019)New Haven: Yale University Press, 320 pp.,ISBN 978-0-30024-603-2, h/bk, $50","PeriodicalId":41039,"journal":{"name":"Visual Inquiry-Learning & Teaching Art","volume":"71 1","pages":"95-97"},"PeriodicalIF":0.2,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77252497","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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