Art Talk Research Articles

What it might mean to live as peers of contemporary art

The population of Hong Kong has been significantly affected by outward migration since the mass pro-democracy movement in 2019. To make sense of nostalgia as a prominent sentiment around the phenomenon, I examine the work of artist and curator duo C&G Artpartment among those who had left. While I long for a Hong Kong with C&G being around, I find inspiration in their lexicon to rethink nostalgia. C&G practices a peer activism committed to both local vernacular and global art talk. While nostalgia that is positive or negative is powered by colonizer and dominator narratives, my nostalgia for them, and for what their departure means for contemporary art in Hong Kong, is neither. It instead carries a pedagogical function. Their peer activism stays relevant in the long-run for admitting transition as an essential preparation for change.

Using visual methods in human rights research

How might we use visual images in research on human rights violations? This article describes four approaches and the advantages and difficulties associated with each of them. It illustrates this with examples from research on how women in shantytowns experienced extreme poverty and state violence during the Pinochet dictatorship in Chile, and on these women's coping strategies and human rights activism (Adams, 2012). The first approach, photo analysis, involves the collection and analysis of photographs showing the conditions that people experience. The second, art analysis, involves photographing and analyzing art works, in this case art works by the victims or survivors of human rights violations. The third, art elicitation, involves asking research participants to look at art works and talk about them or about subjects related to them. The final approach, the collection and analysis of ephemera with visual content, involves examining handbills, flyers, bulletins, newsletters, and the like. These visual methods are of value in and of themselves but can also serve to complement textual and other forms of data and enrich research that is primarily based on other methods.

The Deep Freeze Redux: Cold Storage Packaging of Ektachrome Color Film

At the 2017 SPNHC meetings in Denver, a five-minute Storage Techniques for Art, Science and History (STASH) talk was presented on the cold storage of film-based media. Herein, a more in-depth presentation of the Smithsonian's archival project with a status update is provided. In February 2016 world-renowned ichthyologist John E. Randall (Jack) donated his 10,559 film-based slide collection of fishes to the Smithsonian Institution National Museum of Natural History (NMNH). Beginning in the 1970’s, Jack used predominately 120mm Ektachrome film to photograph marine fishes. The first-generation slides were stored in cool storage, approximately 40F/4.5C, for much of their lives, thus preserving film color quite well as well as extending the life expectancy of film. Although digital surrogates of the slides have been created, the Division of Fishes intends to ensure the stabilization of the original color film by placing the slides in cold (-4F/-20C) storage. Color dyes used in Ektachrome slide film are fairly fugitive, and a known strategy to slow the rate of fading is to store slides in the coldest storage possible. NMNH Division of Fishes rehoused slides based on methods developed by the US National Park Service and the US National Gallery of Art. Prior to placing into cold storage, the slides were rehoused using archival supplies. The packaging methods we used are to prevent or reduce inherent deterioration as well as to help prevent any condensation buildup during the acclimation period that can occur when moving between quite differing temperature environments. In this discussion, I will evaluate the processes and materials used as well as to reflect on post-mortem takeaways.

The emerging alternative practices in Malaysian art (1990s–2015)

Abstract In the past fifteen to twenty years, the Malaysian market-oriented art world has evolved and expanded. Within this evolution and expansion, many interesting trajectories took place not in tandem with the promulgation of the Malaysian marketoriented art world. Thus, this article serves as an attempt to trace changes in the Malaysian art scene not based on the establishment of the ‘art world’, but the coexistence of alternative art practices since the late 1990s that occurred within the same period. Therefore, this article will discuss several alternative courses that surfaced since the establishment of several alternative art groups, collectives and spaces in Malaysia. These initiatives later led to various public programmes organized by such groups and spaces. Examples of the aforementioned public programmes include art talks, workshops, exhibitions, exploratory works and even art festivals in an effort to involve the public in community-engaged art projects.

Integration of Decorative Iron with Architecture for Modern Art

The latter half of the nineteenth century saw an unprecedented increase in technology. The use of new materials such as iron and glass architecture has accompanied many changes. These changes have occurred in the social, economic and cultural fields, which changed the aesthetic values of that era. Modern art designer tried to do that. It is done to bridge the gap between aesthetic value and new technology, where the technology was hidden behind the art. (Barbara W. 2015 (11)(. Art Nouveau designers’ senior who incorporated designs decorative iron as a new architecture designed is Victor Horta (1861- 1947).He is one of the founders of modern art. He was the first major act of his work carries the thought and principles of modern art is Hotel Tassel ((1892-1893. In Brussels, it has also appeared this trend in Paris. Patrons designer are Hector Guimard (1867-1942). The important his work that still pays for Art Nouveau entrances Metropolitan "Metropolitain" or the Paris Metro. 1899-1904 and he has 141 input. (Hector G.2015 (19)). The research problem is despite the passage of many years. Most novice designers tend to automatically apply the principles of modern art. Hence it must be need to understand the design and construction bases of the decorative iron work in the Art Nouveau architecture. The research Objectives: The research aims to study the use of decorative iron that employed by art designers of modern architecture (stairs, balconies, doors, ...... ). This is developing a vision for the integration of conceptual foundations of iron decorative design with architecture. based on the Art Nouveau style. creating curriculum method to teach the foundations of. It based on inspiration from nature depending on the style of art talk. The most important results, the application of technological techniques, with architecture decorative iron, when the design of Modern Art for Architecture, given the high aesthetic value with the luxury and originality. As well as their applicability to all classes (upper-middle-minimum), provide technology value, economic, with high quality.

Art Talk and the Uses of History

In a reading of Huey Copeland’s Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America , Spillers examines the stakes and implications of the work against the broader perspective of black artistic practices in the sociopolitical context of the United States. Looking in detail at aspects of Copeland’s quartet of painters, she brings questions of aesthetics alongside present-day political concerns.

Audience engagement and the role of arts talk in the digital era

Audience engagement and the role of arts talk in the digital era

Hypertension targets: a focus on the artery, the kidney and the heart

2012 Annual Scientific Meeting and Exposition of the American Society of HypertensionNew York, NY, USA, 19–22 May 2012For the last several years, the annual American Society of Hypertension meeting has held a segment called ‘Hypertension Highlights’ featuring state-of-the art talks by leaders in the field who share current research, and clinical management, organized around themes in hypertension. This year there were nine lectures grouped into three domains: the artery, the kidney and the heart.

Politics, pain and pleasure: the art of art-making for 'settled' Aboriginal Australians

Since the emergence of the ‘acrylic art movement’ which came out of Papunya in the Western Desert of Australia in the 1970s, Aboriginal art and cultures have become intertwined in public discourse, through government policy, and in visual art worlds. It is arguably through their artworks that Australian Aboriginal people have become increasingly known both within Australia and overseas (Merlan 2001; cf. Fourmille 1994).i Indeed, in many ways, Aboriginal art has come to represent Aboriginal people and their culture (Myers 2002). But what kind of art is acceptably deemed Aboriginal in mainstream art worlds, by Australian Aboriginal people, and why? What does this mean personally, socially and economically for those Aboriginal artists who are located in the south-eastern parts of Australia which were first colonised? For the most part these people are deemed by the mainstream population to have ‘lost their culture’. More than this, they are spoken of by some other Aboriginal people from the more remote and later colonised parts of the continent in similar terms. Based on long-term ethnographic fieldwork with the Barkindji people of Wilcannia, a small country town in the south-east of Australia, this paper explores the role of art making and art talk and the ways in which these are implicated in the politics of culture, in cultural subjectivity, and in the consolidation and (re)creation of cultural identity.

Teacher Art Talk: What We Say Matters

Abstract This study examines art discourse from four elementary school art teachers who came to their classrooms with very different kinds of preparation: a student teacher, an artist in residence, a volunteer parent, and a credentialed art specialist. Two simultaneous and implicit functions of the teachers’ spoken discourse are analyzed: an informational function and a social function. Findings illuminate strengths and weaknesses in art teacher talk, and suggest effective kinds of discourse that all teachers can utilize.

Teacher Art Talk: What We Say Matters

This study examines art discourse from four elementary school art teachers who came to their classrooms with very different kinds of preparation: a student teacher, an artist in residence, a volunteer parent, and a credentialed art specialist. Two simultaneous and implicit functions of the teachers' spoken discourse are analyzed: an informational function and a social function. Findings illuminate strengths and weaknesses in art teacher talk, and suggest effective kinds of discourse that all teachers can utilize.

The Curator as Arts Administrator? Comments on Harald Szeemann and the Exhibition “When Attitudes Become Form”

In one of the first German language publications on arts management (the Baden-Baden Kunstgespräche, or Art Talks, from 1959) the question was discussed, “Is modern art managed?” The critics implied that the supposed managers of art had “managed” the introduction and dominance of “abstract art” in Germany, which was equivalent to saying that the commercial interests in the art trade had led the managers to offer only this kind of art (in this case, it was Tachisme) in the market, and particularly to have it shown in art institutions. That at any rate was the thesis put forward, for example, at the documenta II by Hans Sedlmayr, who was one of the best known German art critics in the 1950s and a prominent opponent of modernism (cf. Sedlmayr 2006). Among those who rejected this thesis were Theodor W. Adorno, Max Bense, and Daniel Henry Kahnweiler. They argued that before art is sold in the marketplace there is the nonmarket related activity of the artist, focused exclusively on questions internal to art, and that this moment is not endangered by management. In order to simplify this topic somewhat, which from today's perspective seems quite complex, I would like to ask: “Is modern art managed by curators?” And to further restrict the topic, I would like to concentrate on the specific historical constellation around the year 1969. But first, if we are going to be able to judge whether curators manage art, a few comments need to be made on the use of the term “arts administrator.”

‘In broken images’: Difference and emancipation within the communal process of social inquiry

Using an oppositional figure derived from Robert Graves' poem, ‘In broken images’, as a heuristic device, this article explores the clash between dogmatic methodologies on the one hand and liberating methodologies on the other in order to expose as unproductive an opposition that arraigns the political discourses of ‘truth’ against the literary discourses of justification. In doing so the article locates the tension between an aesthetic orientation in the study of literature and that, particularly in postcolonial studies, which has gained critical ascendancy: namely a material or political orientation in the study of literature. In order to minimize the marginalization of so‐called‘art talk’ (Chapman 2006. Art Talk, Politics Talk.) when confronted by the ‘real politik’ of ‘politics talk’ I argue that these two apparently antagonistic discourses are essentially part of a single, ordered discourse that, if allowed to achieve its full potential, advances through continual self‐correction to an ever‐deepening emancipation of the species. I suggest, further, a program for the recovery (or recuperation) of aesthetics in the study and analysis of literary discourse so that we can begin the reconfiguration of what I take to be at present a self‐defeating agenda. What I argue for is a project that embraces difference and which seeks to locate the emancipatory potential of the individual within the communal process of social inquiry.

Cultural Paths and Aesthetic Signs

Contemporary philosophical stances toward `artistic truth' derive from Kant's aesthetics. Whereas philosophers who share Kant's emphasis on aesthetic validity discount art's capacity for truth, philosophers who share Hegel's critique of Kant render artistic truth inaccessible. This essay proposes a critical hermeneutic account of aesthetic validity that supports a non-esoteric notion of artistic truth. Using Gadamer and Adorno to read Kant through Hegelian eyes, I reconstruct the aesthetic dimension from three polarities in modern Western societies. Then I describe aesthetic validity as an horizon of imaginative cogency governing the exploration, presentation and creative interpretation of aesthetic signs. The essay argues that aesthetic processes, so construed, are crucial to cultural pathfinding, and that aesthetic validity-claims in art talk contribute significantly to this pursuit. Aesthetic validity, cultural orientation and art talk constitute the hermeneutical matrix from which questions of artistic truth emerge.

Why Study Classroom Art Talk?

Why Study Classroom Art Talk?

Why Study Classroom Art Talk?

Why Study Classroom Art Talk?

Interactive Art Interpretation: How Viewers Make Sense of Paintings in Conversation

This study explores the talk of viewers as they encountered paintings in an art gallery. An inductive analysis of conversations recorded between viewers and one of the researchers resulted in the identification of three categories of art talk: Evaluation, Attraction, and Storytelling. Further, the authors distinguish two design features governing this kind of talk, Narration and Reification.Viewers verbalize their experience of paintings in order to interactively manufacture meaning. This sense‐making process is consequential not merely for the viewers' understanding of the artwork but for their conception of the world, and of themselves and others in it. Perhaps most significant, viewers employ artwork as a material and symbolic resource in the ceaseless interactive fabrication of their own identities.

Classroom Art Talk: How Discourse Shapes Teaching and Learning in a High School Art Classroom

Classroom Art Talk: How Discourse Shapes Teaching and Learning in a High School Art Classroom

Using Make-Believe to Motivate Student Art Talk

Using Make-Believe to Motivate Student Art Talk

The Dichotomous Man: The Message of Phaedrus.

Common art talk and recent articles and research in art education promote the idea that artists are motivated primarily by emotion and intuition in the pursuit of their artistic endeavors. Scientif...