Pub Date : 2023-04-03DOI: 10.1080/00043249.2023.2239113
Fu Bin
We have entered a “post-printing” era. The dissemination of information and images has become more diversified and complex, and traditional printing is facing new challenges. How can we both preserve tradition and transcend its borders? Contemporary printmaking can be used as a kind of “synthetic” art to separate from the traditional printing process and image reproduction, which will change the inertial thinking that printmaking is only for printing. Reproduction is no longer the most important attribute of contemporary printmaking, instead diversified, mixed, and crossmedia art practices are the future. In my recent works, I have combined the engraving of the woodcut matrix with oil painting. The raised black lines and colors with rich strokes create a subtle space in the seemingly flat painting and bring a unique formal language and visual experience. My process references the procedural characteristics of printmaking and divides them into several independent steps. First, I do not emphasize the replicability of printing. The layout is engraved but not used for printing; and the wooden board (matrix) with rich knife-mark texture becomes the base of the picture. Second, I use the ink for printmaking instead of paint to draw the colors. Finally, I use a roller to ink the raised part of the picture and black to highlight the main structure of the picture, thus completing a unique composite material painting. This creative method relies on unique tools and painting language, mixing the indirect expression of printmaking with the direct articulation of painting. Using the language and modes of ontology I explore the potential of printmaking and regard different production techniques and visual forms in printmaking as the most valuable parts, which inspires me to highlight the unique artistic expression and aesthetic characteristics of printmaking. I depict figurative and flat urban landscapes. In my opinion, the city is not only a space for daily life but also a container for storing history, culture, and individual memory. In Western art history, landscapes were long used only as backgrounds until Caspar David Friedrich first transformed the landscape into a mental image and a metaphor for the psychological state of human existence. My Parallel Lines series of works focuses on the daily landscape around us but one in which there are no traces of people in the familiar sense. The absence of people is a metaphor for the mental state of many urbanites. In the face of China’s rapid urbanization and development, the transformation in the urban landscape results in a huge impact not only on the visual but also the psychological. The gap between dreams and reality makes people have a strong sense of strangeness and alienation from the city they live in. The Once Upon series of works are based on photographs I took while traveling in Hong Kong. Its crowded urban spaces have typical postmodern characteristics, but it wasn’t the typical high-rise buildings
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Pub Date : 2023-04-03DOI: 10.1080/00043249.2023.2239114
Morgan Falconer
Abstract “Touchstones: Lucy Lippard’s Overlay and the Politics of Prehistory” examines the critical context around Lucy Lippard’s remarkable 1983 book about contemporary art and the art of prehistory. A unique piece of art history that shuttles between archaeology and contemporary practice, the book is one of the most important critical works to emerge from the cultural feminist movement of the 1970s. The essay explores its distinctive model of “collaged” history, competing approaches to time and history in contemporary land art, how these reoriented notions of Minimalism and technology, and why Lippard believed that prehistory could become a powerful cultural and political resource. The essay also investigates the preoccupation with prehistory, a pervasive accent in the art of the late 1960s and 1970s, and one which provides an important context that goes beyond the limits of cultural feminism. Finally, the essay examines the position Lippard adopted in relation to the gathering criticism of cultural feminism which came from voices on the poststructuralist left; it also explores Lippard’s understanding of pluralistic approaches to media at a time when Rosalind Krauss’ essay on “Expanded Sculpture” sought to bring order and logic to the period’s diversity.
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Pub Date : 2023-04-03DOI: 10.1080/00043249.2023.2240217
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Pub Date : 2023-01-02DOI: 10.1080/00043249.2023.2180280
S. Crasnow
Archives have been a prominent feature in the artistic practices of contemporary artists from the Middle East. Perhaps most notably among artists of the post-Civil War generation in Lebanon, such as Walid Raad, Akram Zaatari, Joana Hadjithomas and Khalil Joreige, and Rabih Mroué, among others, an investment in intervening in existing archives and creating reparative alternative new archives has been seen in works by artists from across the region. Gathering scholarly texts and artist interventions together, Anthony Downey’s 2015 volume Dissonant Archives: Contemporary Visual Culture and Contested Narratives in the Middle East (I. B. Tauris, 2015) brought together examples of these archival investments and interjections made by contemporary artists. As such, while a focus on the archive is not something new, Gil Hochberg, in Becoming Palestine: Toward an Archival Imagination of the Future approaches the works of Palestinian artists who are engaging with archives and archival practices from a new perspective. Hochberg reads these practices as utilizing the archive in a way that turns toward the future rather than fixating on the past, even in a reparative sense. In Becoming Palestine, Hochberg looks at a selection of artistic practices that engage with archives not for what they can tell us about the past but for what they may hold for potential futures. It is this notion of possibility or potentiality that is encapsulated in the “becoming” of the title. As Hochberg states of the title in the introduction to the book, “I use the term becoming to account for such open-ended futures . . . Becoming requires a certain ‘leaving behind’ of historical preconditions ‘in order to become, that is, to create something new.’ It requires speculating beyond the narrative comfort zone of history’s ‘actuality,’ which is held in place by preexisting recognizable political terms: state, empire, nation, or people. This is where art comes in” (8). Hochberg sees art as a medium unbound by the restrictions and requirements of what is and therefore able to venture into the exploration of the possible: what could have been and what could still be. Comprised of five chapters, each investigates how a dierent artist utilizes the archive to explore possible futures. As Hochberg outlines in the introduction, the first two chapters deal with “the poetics of
档案是中东当代艺术家艺术实践的一个突出特点。也许最值得注意的是，在黎巴嫩内战后一代的艺术家中，如瓦利德·拉德、阿克拉姆·扎塔里、若安娜·哈吉托马斯和哈利勒·乔雷格，以及拉比·姆鲁埃等，来自该地区的艺术家在作品中看到了对干预现有档案和创建修复性替代新档案的投资。安东尼·唐尼（Anthony Downey）2015年出版的《不和谐的档案：中东的当代视觉文化和有争议的叙述》（Disnant Archives:Contemporary Visual Culture and Contested Narratings in the Middle East，I.B.Tauris，2015）汇集了学术文本和艺术家干预，汇集了当代艺术家进行的这些档案投资和干预的例子。因此，尽管对档案的关注并不是什么新鲜事，但吉尔·霍赫伯格在《成为巴勒斯坦：走向未来的档案想象》一书中，从一个新的角度探讨了从事档案和档案实践的巴勒斯坦艺术家的作品。Hochberg将这些做法解读为以一种转向未来的方式利用档案，而不是专注于过去，即使是在修复的意义上。在《成为巴勒斯坦》一书中，霍克伯格着眼于与档案馆接触的一系列艺术实践，不是因为它们能告诉我们关于过去的事情，而是因为它们可能为潜在的未来持有什么。正是这种可能性或潜力的概念被封装在标题的“成为”中。正如Hochberg在本书的引言中所述，“我用“成为”一词来解释这种开放式的未来……“成为”需要一定的历史先决条件的“遗留”，“才能成为，也就是说，创造新的东西。”它需要超越历史“现实”的叙事舒适区进行推测，而这是由预先存在的可识别的政治术语所保持的：国家、帝国、民族或人民这就是艺术的用武之地”（8）。Hochberg将艺术视为一种不受现有事物的限制和要求的媒介，因此能够冒险探索可能的事物：什么本来可以是，什么仍然可以是。每一章由五章组成，研究不同的艺术家如何利用档案来探索可能的未来。正如霍克伯格在引言中所概述的那样，前两章论述了“
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Pub Date : 2023-01-02DOI: 10.1080/00043249.2023.2180281
Diego A. Millan
collective portrait Willis assembles can call attention to both visual patterns, without losing the reader’s access to the idiosyncrasies of any particular image or historical actor pictured within. The structure of Willis’s book invites synthetic observation—looking across and between texts and images—but at the same time, the inclusion of such a wealth of primary sources invites readers to bring their own interpretive skills to the work of observation. The uncannily fine grain produced by nineteenth-century wet-plate photographic processes makes soldiers portrayed in these pictures feel radically present to contemporary viewers, highlighting any particular soldier’s distinctive individuality in the direction of his gaze, the angle of his posture, or the placement of his hands. Both as documents of intimate experience and as symbolic representations, these photographs exhibit a representational tension, one that becomes evident as viewers engage with the collective portrait and the distinctive texts and images that comprise that portrait. Even when readers are instructed to see how lines connect across the primary sources included in the book, readers may find themselves in unexpected moments of intimate engagement with a particular object or document. The methodological interventions of this book, and in particular the way that Willis invites readers to engage with the historical record, invite the interpretation of this book as a pedagogical project. As she guides readers through the text, Willis invites us into a particular way of seeing, a practice of noticing when the subjects of photographs gesture beyond the edges of their frames. Both Willis’s and Clifton’s books are framed around failures of memory, not just the problem of remembering the names of enslaved people and their descendants, but a bigger loss of awareness—or in some cases refusal to recognize—the ways that Black Americans asserted their selood in the face of significant resistance, thus propelling dramatic social transformations. In each of these texts, the response to such losses is the assembly of a narrative from words and texts, just kept, a process that reminds us that losses of memory can result from the absence of documentation, but also from a lack of narrative structure that helps the flood of historical documents make sense. As Clifton assembled her raw materials into prose, poetry kept creeping in, resulting in a memoir in which readers must be part of the process of assembly. Unlike a historical monograph, she does not oer clear transitions or conclusions or a summary of argument, and instead readers are left to make the imaginative leaps for themselves. As she reminds us in the book’s first pages, these leaps have consequences and may reflect our own subject positions or backgrounds: “She is puzzled. I don’t remember that name, she says.” Who and how we remember is political work. Reading Willis alongside Clifton makes the poetry of The Black Civil War Soldier
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Pub Date : 2023-01-02DOI: 10.1080/00043249.2023.2194784
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Pub Date : 2023-01-02DOI: 10.1080/00043249.2023.2180275
Vladimir Cybil Charlier
1. Loa, also spelled lwa, are the primary spirits of Haitian Vodou. They are akin to the orishas of Yoruba religion of West Africa and its New World derivatives, and of Afro-Caribbean syncretic belief systems or religions. Unlike the orishas, which are supernatural entities, the loa are not deities but spirits, either of human or divine origin, created by Bondye (God) to assist the living in their daily a airs. 2. All My Ancestors: The Spiritual in Afro-Latinx Art, exh. cat. (Philadelphia: Brandywine Workshop and Archives, 2022), 47. Pantéon: When the Saints Go Marching! explores the practice of using images evocative of Afro-diasporic and global belief systems as an act of resistance and resilience for African peoples of the New World. The full series depicts twenty-two icons, which conflate archetypes of African, Afro-Caribbean, and other deities with present-day pan-African heroes and sheroes like Bob Marley, Jean-Michel Basquiat, and Harriet Tubman. I began the series during a residency at the Studio Museum in Harlem as I pondered what would happen if, years after their respective passing, the icons, as AfroCaribbean deities, landed in the modern-day city. I later revisited and expanded on the series, seeking to generate a conversation about how diasporic identities are constructed. As African American and Afro-diasporic heroes and sheroes are cast as icons, they become the archetypes of a New World. The video elements attached to each of the selected images reproduced here (by QR code) deconstruct each archetype and create universal connections, both visual and symbolic, drawing the viewer into a seductive, poetic world, a universal dance that goes beyond borders, geography, and language. It is the cosmic dance of creation, the dance of the atoms, a dance that pays homage to deities identified with the world’s belief systems, such as Shiva, one of the main deities of Hinduism, and Olodumare, the Yoruba supreme being, creator of the heaven and the earth. In the exhibition catalog accompanying All My Ancestors: The Spiritual in Afro-Latinx Art, Tatiana Reinoza, the show’s curator, referenced my practice and the Pantéon: When the Saints Go Marching! series in the following terms:
1. Loa，也拼写为lwa，是海地伏都教的主要精神。他们类似于西非约鲁巴宗教及其新世界衍生品的orishas，以及非洲-加勒比混合信仰体系或宗教。与超自然的orishas不同，loa不是神，而是灵魂，无论是人类还是神圣的起源，由Bondye(上帝)创造，以帮助生活在他们的日常生活中。2. 《我所有的祖先:非裔拉丁艺术中的精神》猫。(费城:Brandywine Workshop and Archives, 2022)，第47页。潘塔姆:当圣徒行进时!探索使用图像唤起非洲散居和全球信仰体系的做法，作为抵抗和适应新世界的非洲人民的行为。整个系列描绘了22个偶像，将非洲、非裔加勒比人和其他神灵的原型与当今的泛非洲英雄和英雄(如鲍勃·马利、让-米歇尔·巴斯奎特和哈里特·塔布曼)混为一谈。我是在哈莱姆的工作室博物馆(Studio Museum)驻留期间开始这个系列的，当时我在思考，如果这些偶像，作为加勒比黑人的神灵，在他们各自去世多年后，降落在这座现代城市，会发生什么。后来，我重新审视并扩展了这个系列，试图引发一场关于流散身份是如何构建的对话。随着非裔美国人和散居海外的非洲人的英雄们被塑造成偶像，他们成为了新世界的原型。在这里复制的每个选定的图像(通过QR码)上附加的视频元素解构了每个原型，并创造了视觉和符号上的普遍联系，将观众带入一个诱人的诗意世界，一场超越国界、地理和语言的普遍舞蹈。它是宇宙的创造之舞，原子之舞，是一种向世界信仰体系中的神致敬的舞蹈，比如印度教的主要神之一湿婆，以及约鲁巴人的最高存在，天地的创造者奥洛多玛雷。在“我所有的祖先:非洲-拉丁艺术中的精神”展览目录中，展览策展人塔蒂亚娜·雷诺萨(Tatiana Reinoza)引用了我的实践和pant:当圣徒前进!以下条款的系列:
{"title":"Pantéon: When the Saints Go Marching! Envisioning an Afro-diasporic Cosmology","authors":"Vladimir Cybil Charlier","doi":"10.1080/00043249.2023.2180275","DOIUrl":"https://doi.org/10.1080/00043249.2023.2180275","url":null,"abstract":"1. Loa, also spelled lwa, are the primary spirits of Haitian Vodou. They are akin to the orishas of Yoruba religion of West Africa and its New World derivatives, and of Afro-Caribbean syncretic belief systems or religions. Unlike the orishas, which are supernatural entities, the loa are not deities but spirits, either of human or divine origin, created by Bondye (God) to assist the living in their daily a airs. 2. All My Ancestors: The Spiritual in Afro-Latinx Art, exh. cat. (Philadelphia: Brandywine Workshop and Archives, 2022), 47. Pantéon: When the Saints Go Marching! explores the practice of using images evocative of Afro-diasporic and global belief systems as an act of resistance and resilience for African peoples of the New World. The full series depicts twenty-two icons, which conflate archetypes of African, Afro-Caribbean, and other deities with present-day pan-African heroes and sheroes like Bob Marley, Jean-Michel Basquiat, and Harriet Tubman. I began the series during a residency at the Studio Museum in Harlem as I pondered what would happen if, years after their respective passing, the icons, as AfroCaribbean deities, landed in the modern-day city. I later revisited and expanded on the series, seeking to generate a conversation about how diasporic identities are constructed. As African American and Afro-diasporic heroes and sheroes are cast as icons, they become the archetypes of a New World. The video elements attached to each of the selected images reproduced here (by QR code) deconstruct each archetype and create universal connections, both visual and symbolic, drawing the viewer into a seductive, poetic world, a universal dance that goes beyond borders, geography, and language. It is the cosmic dance of creation, the dance of the atoms, a dance that pays homage to deities identified with the world’s belief systems, such as Shiva, one of the main deities of Hinduism, and Olodumare, the Yoruba supreme being, creator of the heaven and the earth. In the exhibition catalog accompanying All My Ancestors: The Spiritual in Afro-Latinx Art, Tatiana Reinoza, the show’s curator, referenced my practice and the Pantéon: When the Saints Go Marching! series in the following terms:","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":"82 1","pages":"8 - 15"},"PeriodicalIF":0.5,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47124788","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/00043249.2023.2180276
Sarah Magnatta
Memories can be fractured, incomplete, or unreliable, but materiality—especially for artist Suchitra Mattai—often embodies stability. As Joanna Sofaer notes, “Materiality conveys meaning. It provides the means by which social relations are visualized, for it is through materiality that we articulate meaning and thus it is the frame through which people communicate identities.” 1 Mattai’s use of specific materials denotes certain relationships, concepts, and questions, even while drawing from imprecise personal memories. She investigates her own family’s history—one that started decades prior as Indian indentured laborers in the British colony Guiana (now Guyana)—through these materials: personal tokens such as her mother’s and her aunt’s saris reference women of the South Asian diaspora, long decentered, but whose voices are here amplified; found needlepoint reclaims its status, eschewing the hierarchies imposed by colonial narratives dividing fine art from “women’s craft;” patterned paper and fabrics in the Tommy Bahama vein reference the ongoing exotification of the Caribbean by western consumerist culture; and sugar, the seemingly benign substance responsible for numerous acts of colonization, human enslavement, and the depletion of environmental resources, reminds the viewer of the ongoing ramifications of imperialism. This essay examines some of these materials—from “raw” to readymade objects and fabrics—as they intersect with memory in Mattai’s work, allowing us to, in Mattai’s words, “unravel and re-imagine historical narratives.”
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Pub Date : 2023-01-02DOI: 10.1080/00043249.2023.2180278
Charles Keiffer
Abstract Why does every book about the opioid epidemic have a landscape photograph on the cover? Landscape photography has had a persistent role in media coverage of America’s opioid epidemic since at least 2016. This paper explores the phenomenon through analyses of a selection of recent, popular press book covers whose texts address the crisis, asking what this marketing strategy reveals. What do these images tell us about how we approach the opioid crisis, and how that approach may differ from previous addiction epidemics in America? How does the perceived whiteness of this epidemic influence how we visualize it? My argument is that, for the educated, urban reader whom these books are marketed to, the images are intended to evoke our existing anxieties about those other crises – climate change and American economic decline – provoking empathy with the victims of the opioid crisis. This signal to empathy may point to not only a changing approach to addiction but a shift in American culture’s attitude towards the future.
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Pub Date : 2023-01-02DOI: 10.1080/00043249.2023.2180279
K. Carter
Abstract In 1969 Lygia Clark and Hélio Oiticica travelled to Los Angeles to participate in the first International Tactile Symposium. Led by August Coppola and hosted by the University of California State-Long Beach, this event set out to explore the collective facets of touch and its relation to art. On the one hand, the symposium’s drive to collaborate through somaesthetic experience resonated with the countercultural ethos of the 1960s, exposing desires for community and authentic experience. On the other hand, I ask how the antagonisms found in Clark’s exhibited proposition, The and the You (1967), open a different line of inquiry into the ways in which the phenomenological concerns of touch and the socialized body resonated with mounting debates regarding the viability of collective experience in the United States. By mapping these different interpretations—made evident in the literature around the symposium, including an unpublished essay written by Oiticica for the event—I consider how the symposium held together distinct and sometimes competing ideas of what touch and collectivity could mean at the time. As much as touch offered playful opportunities to come together, it also made space to reimagine the active, relational unfolding of bodies as intersubjective, dispersed, and unevenly formed. I argue the symposium reveals a desire to find new, more meaningful art forms in light of socio-political uncertainty and change. It also offers a more nuanced history of relational art practices in the US, especially as they developed alongside shifting conceptions of personal freedom and collective agency.
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