Experimental Art and the Body: Parangolé and the Collective Body

African Modernism in America, 1947–1967

Cutting Edge of the Contemporary: KNUST, Accra, and the Ghanaian Contemporary Art Movement

The phenomenon of contemporary art is considered as the content basis of education. The reasons for the contradiction between the educational potential of works of contemporary art and their rare use by teachers for solving educational tasks are determined. The results of qualitative and quantitative analysis of questionnaire materials received from 227 teachers of General education organizations are presented. The article clarifies the concept of contemporary art as the art of the second half of the twentieth century and the present day, aimed at the study and interpretation of a complex, rapidly changing world using a variety of artistic and expressive means and languages, based on philosophical, psychological, socio-cultural concepts and new technologies; having the attributes of experimentation, non-canonicity, topicality, innovation, critical content. The prospects of introducing the results of the study into educational practice by increasing the level of knowledge of teachers about contemporary art are shown.The subject of the article - contemporary art as a meaningful basis for education. The main theme - to identify the possibilities of contemporary art in the education of schoolchildren. The work Purpose - to analyze the results of the survey, which allow us to judge the professional and personal position of teachers in relation to contemporary art, the level of their competence in the field of contemporary art and culture. Methodology of the work: qualitative analysis-hermeneutical and content analysis of visual material when working with works of contemporary art, interpretive and comparative analysis of respondents' assessments and judgments about contemporary art and its educational potential; quantitative method-statistical analysis of empirical data. Results: the analysis of examples of works of contemporary art used to solve educational and / or educational tasks revealed that teachers prefer to use works of art created at the end of the XX – first decades of the XXI century, continuing the classical tradition, as well as the most fashionable and relevant examples of mass culture in their work. Non-classical works of art are used by 10.6% of respondents. Scope of results is the educational space of the school and pedagogical University. Conclusions. Teachers are open to new experiences and are interested in using works of contemporary art to solve educational problems.

New approaches and means of expression in contemporary Turkish ceramic art have developed rapidly in the last 20 years. This development is proceeding simultaneously with different disciplines of art. Today, means of expression in different disciplines such as painting, sculpture, and ceramics give their place to postmodern statements. Aside from the traditional, there is also a search for new means of expression. Methods such as ready-made objects, reproduction, print, repetition and copying are means of expression in contemporary art. Today, some ceramic art works are built on installations. Installation, expression and concept are important in the works of artists such as Burçak Bingöl, İnsel İnal and Candeğer Furtun. Thus, the means and perception of expression have gone through changes based on societal occurrences. This research includes the works of contemporary Turkish ceramic artists who implement “Installation, Expression and Concept”. It is expected that carrying out an analysis on the works of these artists will determine both the significance of the topic, and the present change and development in Turkish ceramic art.

<p>自二十世紀中葉以來，歐美當代藝術逐漸轉向關注人類學的方法和理論，此種轉變被稱為當代藝術的「民族誌轉向」（ethnographic turn）。在2010年代，臺灣當代藝術的發展過程，也出現一系列民族誌轉向的創作趨勢及藝術論述，並以在地藝術家的創作案例為核心，進行創作倫理及方法論的探討和反思；後續亦有人類學者撰文，進行對話與回應。因此，本文回顧相關學者和評論者的書寫和論述，試圖進行脈絡性的討論；另一方面，則以相關論述之間的爭辯，除了指出將田野導向的創作予以類型化之危險，亦對藝術的展示邏輯進行反思，以此來展開對創作方法的思辨。</p> <p> </p><p>Since the mid-20th century, contemporary art in Europe and North America has gradually shifted its focus toward anthropological methods and theories, a transformation known as the “ethnographic turn” in contemporary art. In Taiwan, during the 2010s, the development of contemporary art also saw the emergence of trends and discourses related to the ethnographic turn, centering on the works of local artists. These works explored and reflected on creative ethics and methodologies, often leading to subsequent dialogues and responses by anthropologists. This article reviews the writings and discourses of relevant scholars and critics, aiming to contextualize these developments. It seeks to examine the tensions between critiques of anthropological fieldwork imitation, the questioning of fieldwork as a creative methodology, and the instability between methodological establishment and artistic production. On the other hand, debates within these discourses also reveal the risks of categorizing field-oriented artistic practices while critically reflecting on the logic of artistic display. Through these discussions, this article aims to initiate a deeper examination of creative methodologies.</p> <p> </p>

By combining examples of contemporary toy art, illustration, device art, digital artistic practices and through views of my own I will question the significance and development of traditional art in contemporary art creation and its impact on the my art. The article consists of three parts: In the first chapter, I will emphasize the embodiment of Chinese traditional art in Dunhuang art through the Dunhuang example. I will analyze how Dunhuang Buddhist art was formed and describe the architectures, sculptures and murals in Dunhuang Grottoes. For the murals, I will focus on the figure murals and story murals. Finally I will summarize the characteristics of Dunhuang art and its impact on contemporary art. In Chapter II, I will analyze contemporary illustration art, toy art and device art through art works of artists such as Yoshitomo Nara and Maywa Denki from Japan, of contemporary China such as Perk studio from China, and Mars-1 from America. In Chapter III, I will introduce my own art works as well as my own artistic views. For artistic views, I will analyze the importance of traditional art in contemporary art, the importance of art innovation and the way to carry on traditional art and create contemporary art works. Finally, I will present my own thoughts through art creation and the conclusion for the art study.

The Heresy of Didactic Art

Colonial Legacies: Contemporary Lens-Based Art and the Democratic Republic of Congo by Gabriella Nugent

The article examines the features of the perception of the urban environment as a specific phe- nomenon. The article considers the artistic works of a group of contemporary Ukrainian artists P. Makov, A. Sai, L. Dzhuraev, A. Priduvalov in the genre of urban landscape from the point of view of a conceptual approach, which allows us to understand the general direction of development of this type of genre. The works of contemporary Ukrainian artists reflect how a modern city creates an endless combination of connections between different aspects of life and the corresponding various forms and impressions. The article analyzes the works that the authors demonstrated as their reflections on changes in the urban environment in special creative projects. The urban environment causes a creative person to strive to convey his atmosphere, images, rhythms in his own language. For centuries, artists have depicted the urban space, but it was in the twentieth century that the transformation of the urban environment into an urban one contributed to the fact that the city became a source of special inspiration for subsequent times. The theme of urbanism is specific in the work of contemporary Ukrainian artists, where the very phenomenon of the city is the basis of creative inspiration. The aim of this work is to study the conceptual and programmatic works of contemporary Ukrainian artists to reveal the theme of urbanism in painting and the main trends in displaying the city as a concept in the work of artists.

At the end of the 1940s, three important private museums emerged in Brazil’s two biggest metropolises, São Paulo and Rio de Janeiro, establishing a circuit that would prove essential to the consolidation and internationalization of modern and contemporary Brazilian art. During this period, entrepreneurs and collectors created the Museu de Arte Moderna do Rio de Janeiro (MAM–RJ, in 1948), the Museu de Arte de São Paulo (MASP, in 1948) and the Museu de Arte Moderna de São Paulo (MAM–SP, in 1947). As an heir to this tradition, but adopting a radically new proposal, the Inhotim Institute emerged approximatley sixty years later, in 2004. Located in the state of Minas Gerais, Inhotim harbors a museum complex with a series of pavilions and galleries with works of art and sculptures displayed in the open air, in a rural ambience that also contains a vast botanical collection of rare species. Like the private museums founded in Brazil in the 1940s, Inhotim’s creation was directly linked to the trajectory of entrepreneurs and collectors. The institution was created by businessman Bernardo Paz to hold the collection started by himself in the 1980s and that now runs to more than 450 works by Brazilian and international artists, making it one of the world’s most important collections of contemporary art. This paper discusses the tradition of private museums in Brazil and Inhotim’s impact on the contemporary art scene in the country and globally.
 
 Article received: December 28, 2017; Article accepted: January 10, 2018; Published online: April 15, 2018; Original scholarly paper
 
 How to cite this article: Barros de Castro, Maurício. "The Global/Local Power of the Inhotim Institute: Contemporary Art, the Environment and Private Museums in Brazil." AM Journal of Art and Media Studies 15 (2018): 161–172. doi: 10.25038/am.v0i15.239

The Long View: Leadership at a Critical Juncture for “African Art” in America

Just as contemporary art absorbs objects and cultural phenomena that are not yet art into its orbit, so too has rock and pop music become increasingly omnivorous at its definitional borders. Core to these analogous developments is the mythologization of the figure of the "band" as a creative agent and "world-maker." Although a band might produce material artifacts and sensorial affects, its perceived existence is predicated upon a consensually recognized, although not uniformly projected, immaterial fiction somewhere in space and time. There are, at least hypothetically, an unlimited range of objects and concepts that a work of art or rock band might draw into its network of relations. Somehow, both a work of contemporary art and a band are capable of maintaining a sufficient degree of referential identity and unity, which, despite potential changes and evolutions, remain recognizably consistent across multiple material forms. The apparently permeable nature of these definitional boundaries brings us to analogize contemporary postconceptual art with the absorptive world-making capacity of bands, which we refer to as "bandness."

7 september 1943 . 1 june 2008ANNE D'HARNONCOURT was born to a family distinguished in the arts. Her father, Rene d'Harnoncourt, was for nearly twenty years director of the Museum of Modern Art in New York and the famed Austrian conductor Nikolaus Harnoncourt was her cousin. After attending the Brearley School in New York City, she took her B.A. at Radcliffe College (1965) and her M.A. at the Courtauld Institute of Art, London University (1967), and began her career as curatorial assistant at the Philadelphia Museum of Art from 1967 to 1969. After serving two years as assistant curator of twentieth-century art at the Art Institute of Chicago (1969-71), where she married Joseph J. Rishel (APS; currently Gisela and Denis Alter Senior Curator of European Painting before 1900 at the Philadelphia Museum of Art and senior curator of the John G. Johnson Collection and the Rodin Museum), she returned with her husband to the Philadelphia Museum, where both took up full curatorial appointments, she as curator of twentieth-century art (1972-82). In 1982 she was named the George D. Widener Director, and in 1997, upon Robert Montgomery Scott's retirement, she became the George D. Widener Director and chief executive officer of the Philadelphia Museum. Her sudden and quite unexpected death in 2008 in the fullness of her career and at the height of her accomplishments sent shock waves throughout the museum and its supporters, the city of Philadelphia, the national and international art world, and her thousands of friends everywhere.Anne made her mark quickly as a curator, notably as a specialist on Marcel Duchamp. In 1973 she co-organized with Kynaston McShine a major retrospective of the artist's work, also shown at the Museum of Modern Art and the Art Institute of Chicago and accompanied by an indispensable catalogue. She also oversaw, in collaboration with the artist's widow, Alexina (Teeny) Duchamp, and stepson, Paul Matisse, the installation of the artist's sensational last work, Etants donnes: 1) La chute d'eau, 2) Le gaz d'eclairage, also publishing, with Walter Hopps, the fundamental study of this unsettling work. She organized the important exhibitions Futurism and the Avant-Garde (1980) and John Cage: Scores and Prints (1982), all the while building the Philadelphia Museum collection through acquisition of works by Jasper Johns, Brice Marden, Agnes Martin, and Ellsworth Kelly, among many others. As director, she was especially effective in acquiring for Philadelphia works important to the cultural and artistic patrimony of the city, among them John Singleton Copley's Portrait of Mr. and Mrs. Thomas Mifflin (1773) and Jean-Antoine Houdon's wonderful Bust of Benjamin Franklin (1779). Most famously, Thomas Eakins's masterpiece, The Gross Clinic (1875), commissioned for the Jefferson Medical College and in danger of leaving the city through sale by the college, was saved for Philadelphia by Anne's brokering of a joint purchase with the Pennsylvania Academy of the Fine Arts. Less well known, but of immense importance for the city, was the acquisition through the generous giftof Muriel and Philip Berman of 2,500 Old Master drawings and 42,786 Old Master prints from the former teaching collection of the Pennsylvania Academy.She was by inclination and training a scholar of modern and contemporary art, and under her directorship the museum twice represented the United States at the Venice Biennale, with exhibitions of works by Jasper Johns (1988) and by Bruce Nauman (2009), both of which won the Leone d'Oro. Anne's great love, however, was for art itself. She relished the opportunity to work in a major museum with collections embracing the widest range of artistic expression, from the great traditions of European and American art, to decorative arts and crafts, to costumes and textiles from around the world, and art from India, Korea, China, and Japan. She was especially thrilled by the acquisition and exhibition of the seventeenth-century handscroll by Hon'ami Koetsu, Poems from the Shinokin Wakashu. …

Often situated within the broader discipline of Latin American art, Brazilian art is distinguished by a unique linguistic and colonial history. Following the first encounter of Brazilian territory in 1500, the Portuguese attempted to pacify the different Indigenous tribes comprising the Tupi people occupying the territories along the Atlantic coast. Many tribes were put to work in the service of the Crown, particularly in harvesting commodities such as the red dye extracted from Brazilwood, the tree that gave Brazil its name. The Indigenous peoples, many of whom were decimated upon contact with heretofore unknown and infectious diseases brought from Europe, were later replaced by a huge influx of African enslaved people who were put to work on sugar plantations. A mixture of African, Indigenous, and Portuguese traditions thus characterizes much of Brazilian art well into the 20th century. One distinguishing feature of Brazilian artistic traditions was the arrival of the Portuguese royal family and their court to Brazil in 1807. Fearing the arrival of Napoleon’s army, the Portuguese king, John VI, fled to Rio de Janeiro, establishing the only monarchy in the Americas, which he ruled until 1822, when Brazil gained its independence. During the 19th century, Rio was established as the political and cultural capital of the Portuguese Empire. In 1816, the French Artistic Mission, comprising a group of French artists arrived in Rio to establish the first art academy there. The discussion of a nationally specific Brazilian art became possible during the 19th century, after the establishment of the first artistic institution dedicated to the teaching of art, the Royal School of Sciences, Arts and Crafts, which was later renamed the Imperial Academy of Fine Arts (it underwent several other name changes through the century). The French Artistic Mission was dominated by European, namely, French artistic models, a practice that continued well into the 20th century. The transition from the 19th to the 20th century brought with it not only significant social upheavals, including the abolition of slavery in 1888, but also a renewed interest in a nationally specific Brazilian art. Modernism in Brazilian art had its culminating moment in 1922 with Modern Art Week in São Paulo, establishing this growing urban center as an important venue for the production and circulation of art. This renewal was furthered with the foundation of the São Paulo Biennial in 1951. By the 1960s and 1970s, Brazilian art was exhibited in important international exhibitions, and today Brazilian artists have a strong presence in all major international art fairs and biennials. Contemporary art, although the most difficult to classify as having any specifically Brazilian traits, is also the most well-known art by international audiences.

Breathing Room: Working Principles of Independent Art Spaces in African Cities