Artistic Look Research Articles

Concepts of Production

Widely known for her contributions to contemporary art theory and history. Johanna Drucker's scholarship has helped to shape the fields of artist's books, visual poetics. digital aesthetics, and the digital humanities. Drucker is also internationally recognized as a artist. trpographic poet, and write: A traueling retro spective, Druckworks: Forty Years of Books and Projects, was exhibited at Visual Studies Winkshop from February 7 to April 12, 2014. The following statement on her concepts of production and the future of the was commissioned fir this issue of Afterimage in connection with the Druckworks exhibition. Books are neither vehicles nor containers. They are time-based spatial media that structure meaning through an elaborate intertextual play of material and symbolic Features. They carry authority, and even as the claims for their extinction, replacement, or, at the very least, displacement from a privileged position within a larger ecology of media abound, the as a cultural icon retains its hold on the popular--and esoteric--imagination. The artist's book, that quintessentially twentieth-century form, drew its roots from longer histories of engagement of artists (illuminators, calligraphers, printers, doodlers, and writers) with the imaginative possibilities of the codex (as well as those of scrolls, tablets, wall paintings, and other inscribed and illuminated surfaces). The conceptual foundations on which the is brought into being affect its production. We could point to Geoffroy Tory, Aldus Manutius, the Alexis Master, or any of' the many known or anonymous creators of elaborate textual documents, and show how ideas of what a is as an orchestrated space, espace (suggesting virtual as well as literal space) of relations bring works into being in conformance with these models. As the models -change, so do the objects that instantiate them. William Blake, so often cited as the first book artist on account of his artist-driven enterprise, understood the as an artifact of printmaking, the output of his hand and those technical capacities he could bring directly to bear, without outsourcing any of the labor of production. And he understood it as a collection of image/texts, lines of hand-inscribed poetry containing glyphs other than letters, signaling graphicality as an integrating practice. These delimitations define the scope and scale of the work, setting its limits within the moment of its initial design. A book, any book, is an embodied argument for what: a is. Blake's intimate illuminations are a far cry, for instance, from the work of William Morris, the next most oft-cited early visionary of the as a self-consciously aesthetic artifact. His books were produced in accord with his understanding of hand-press printing a rid fine press publishing as intimately linked categories. But the Kelmscott Chaucer (1896), too big to read, too heavy to hold, is an image-icon to as monument, a kind of shrine to national cultural heritage entombed and enframed. And so it goes. Each aesthetic position within the modern period instantiates its concept of a differently; deliberately or not, so that the form may be read as an aspect of its value and meaning in the semiotics of the cultural system its history, legacy, and ideology The Russian avant-garde artists Look up an alternate model, rooted in the independent artists' productions of small journals and literary magazines so essential to the creation of modern literature. Their embrace of the potential of the multiple to circulate freely in an atomistic dispersal of aesthetic isotopes let loose into the culture is both remarkable and comprehensible in the media ecologies of the early 1910s. Successive innovations each build on precedent, and yet also imagine anew the potentialities of objects as conceptual and material spaces. The use of inexpensive equipment, meant for office use--the mimeos, dittos, and replicating machines with their fluids and liquids, drums and templates, paper plates and rubber blankets--saturated artistic circles and succeeded in permeating to the core of literary and graphic activity This was true in the early twentieth century and remained so until the copier and then nearly ubiquitous digital printers laser, inkjet, and so on) offered new instruments for self-publishing and independent expression. …

Clown eller konsult?

The article is a personal account of the author’s experience of teaching at both an arts and a business school, and of sometimes bringing the arts and the business students together in the classroom. Some times the outcomes are rather predictable, as when the artists look more inside and towards the future, while the business students tend to look more out side and towards the past. Other times the results are less in line with what politicians and others might believe, as when it is the business students that learn entrepreneurial thinking from the artists, and not necessarily the other way around.

Land-Art, Ecologie, Politică şi Societate

Abstract The Land-Art was integrated to Postmodernism by the most art historians, having as arguments the important affinities presented by the two artistic phenomena, both at the expressing modalities level but, especially, at the level of principles and, of the ideological sphere. The Postmodernism intended, as it is well-known, to parody or to interpret, in a proper way, a cultural tradition whose authority had become disturbing the Land-Art also started an innovating programme in the 60s -70s of the 20th century, through which the millenary art of the landscape was questionable, trying this way, a new and radical art-like approach of nature. The Art-Land was given various other names, syntagms which points out the work modalities or the materials used in the creation art: “Sociological Art”, “Earth Art”, “Works Art”, “Environmental Art”, “Earthworks”, “The Art of Landscape”, “The Sculpture of Landscape”, “The Walking Art”. The Land Art borrowed, in a great measure, the own means of expression of other tendencies which were performing on the artistic stage in the same time, such as the technique of installation, some of the principles experienced by Process-Art, by the Environmental Art or by Happening. The most representative land artists knew to integrate all the borrowings to a new vision, an original one, which, for the first time, was turning the nature into the support of the artistic creation. Apart from the point of view through which the Land Art is understood as an integral part of Postmodernism, there are also opinions, supported by well-known specialists, through which the Modernism of the 60s from the past century is seen as a possible origin of the Land-Art, especially if we have in mind the works of some great modern artists, such as Henry Moore, Robert Morris, Anthony Caro, Yves Klein and Tony Smith. Land Art presents two different ways of demonstration, hostile from the point of view of attitude towards nature and public: on the one hand some of the land artists look for the privacy of the act of artistic creation in the natural environment (one example this way is Richard Long), others, on the contrary, are guided by an art with clear social implications (e.g. the typical case of Christo). The ecological position of the tendency is underlined by the artists ' spokesman, Robert Smithson, who thinks that it should be adopted a committed, fighting attitude, pragmatically sheltered itself towards future.

O processo emancipatório do indivíduo na educação técnica profissional sob o olhar da arte e a concepção de pensamento criativo

Este artigo propõe uma discussão sobre a importância do pensamento criativo na construção da emancipação do aluno da educação técnica profissional, a partir do pensamento rancieriano. A análise de conteúdos sob enfoque qualitativo adota a pesquisa bibliográfica e documental para promover investigação acerca da temática. Inicia-se o texto apresentando um breve resgate histórico sobre a educação técnica profissional e seu compromisso com a formação dos mais pobres, ligada ao desenvolvimento econômico e sua necessidade de mão-de-obra. Segue-se com a discussão sobre a emancipação, pautada no pensamento de Jacques Ranciére sobre igualdade como ponto de partida, destacando a potência individual e as inteligências dissociadas das relações hierárquicas de saber. Busca-se uma aproximação com o devir do pensamento de Gilles Deleuze e com o olhar artístico de Pablo Picasso para entender o processo emancipatório do indivíduo, compreendido na complexidade do pensar, do criar, como algo transformador, que não deseja sujeitar-se a ninguém, nem tão pouco sujeitar alguém a si mesmo, numa relação de liberdade. Liberdade de expressão e interpretação, de estabelecer conceitos e inventar novas verdades, novas realidades. A pesquisa aponta para a importância do professor no processo de emancipação do aluno, no sentido de despertar o mesmo para a vontade de potência, mas o emancipar-se, contudo, cabe ao indivíduo. A revolução intelectual invoca a superação de si mesmo, numa relação entre pensamento e criatividade.

Contemporary visual art as mass practice: Pleasure in digital 'religion' confession

In the era of mass production and consumption, the emergence of new technologies and opportunities of quick and easy reproduction, Duchamp with his 'readymade' objects opens a new field of artistic activity which has allowed the artist not only to present industrial products as art, but also to keep their industrial, not an artistic look. This allows the creation of a new form of 'creation' and 'exhibition' - Internet which is, as a digital 'democratic' creation and other modern technology that goes with it, available to everyone, not artists only. Given that the artist is no longer the only one who possess the skill and technical knowledge, art is what artist create, share and exchange with other people in everyday life. Contemporary visual art as if became a mass practice. It seems that everyone is an artist today, since everyone creates everyday and exhibits its' creations on popular web sites. Is this what Boys predicted with his thought that everyone is an artist? Life exhibits itself, and everyday life becomes a work of art. Process of self-documentation and its presentation to the public in the form of confession on web sites - the digital 'religion' became a mass obsession, because it leads to a double pleasure, even though it leads to double frustration too. In addition to enjoying the cathartic exposure of their life and their minutes of fame, the Internet users also experience double frustration in the misappropriation as the byproduct of this exposure - re frustration that occurs when the 'audience' do not pay attention to the offered exposure. Contemporary visual arts and the Internet are increasingly becoming 'time based' - projects which key feature is long time duration, repetition and documentation (archiving) of life itself. Artists and other people in the race to document all aspects of life, in fear of time passing and loneliness, are desperately trying to achieve mass communication.

La crítica de arte en <i>Colombine</i>. El concepto de belleza

The relationship of Colombine with the art and with the artists it is continuous in their gatherings and in their trips, in those that the work, and the artist looks for, as deep manifestation of the culture that is about knowing. The defense of the Greek one registers in the campaign of the journalism to save the squares of San Jose’s chapel. The valuations and descriptions of the Italian and flamenco art, their trip notes, project us to the relationship, always protected, between painters and poets. For everything it is attracted by us to it knowing their position before the work, that is to say, their concept of beauty that we have analyzed in their journalistic critics and in their books of trips.

Architecture and art

This article presents a perception of architecture in the context of an art. Juxtaposing the terms “architecture” and “art,” explaining them and presenting their mutual correlations contributes to deeper comprehension of the subject issue. Thanks to such an operation, the author of this article proves that, in spite of immense discrepancies of opinions published in the Internet, the typically technical discipline of science can also enchant us with its esthetic values. Although a major part of edifices situated in our environment are only hollow and soulless projections, there are still numerous places in the world that can be distinguished only thanks to outstanding premises, namely Sydney Opera. The article provides also a deep insight into various theses proving that both architects and artists look for an inspiration in the surrounding world, especially in the nature itself. In order to corroborate the aforementioned statements, the author of this paper mentions works of such architects as Jean Nouvel, Mies van der Rohe and Diller + Scofidio. However, there are still some designers who claim that architecture cannot be combined with art, since these two disciplines are completely different and have nothing in common with each other.

DSM-V/ICD-11 and the female psyche: quo vadis?

As you will have obviously noticed, we have redesigned the cover of the Journal and have given it a “fresher” more artistic look. We hope you like it. We have also devoted part of this issue to a specific topic: “DSM-V/ICD-11 and the Female Psyche: Quo Vadis?” The impetus to our decision to openly address this issue were concerns raised by colleagues working in the field of women’s mental health as to the currently ongoing process for revising the DSM and ICD. Based on past not-so-positive experiences (DSM-III, -III-R and -IV), scientists/clinicians/teachers wanted to make sure that decisions pertaining to female-specific issues will be less biased, less political and evidencebased as much as possible! The Editorial Board decided that it might be prudent to invite some of the leaders in this field and ask them to share with us their thoughts/wish list of what they would like to see incorporated in the DSM-V/ICD-11 as it pertains to women’s mental health. We received 14 responses published here which we hope will convey the sense of urgency that we in the trenches of women’s mental health care are experiencing. We subsequently also invited two commentaries from both sides of the Atlantic Ocean which further highlight the problem. We wish to thank all the contributors for their time and thoughtful remarks. We hope that this publication will evoke responses from others in the field and invite you to send us your own thoughts. We will also make sure that this issue of the Journal will reach members of both the DSM and ICD task forces.

Methodology by Metaphor: Ways of Seeing in Painting and Research

Scholars paint theoretical canvases, using words, without always making transparent the logic of inquiry embedded within their writing. This is especially so when writing for their own epistemic communities, whose members share a set of usually unspoken methodological presuppositions concerning the `reality status' of what they study and its `know-ability'. When research topics engage scholars across epistemic communities, as in organizational studies, arguments may be difficult to parse precisely because these presuppositions remain implicit, unnoted and, perhaps, unnoticed. By enabling new ways of seeing familiar things, metaphors can facilitate such encounters by making the implicit less so. We turn to painting to enable metaphoric understanding of methodological differences in organizational and other social science scholarship, drawing on examples from the organizational identity literature. Much as artists look at the world around them and render things on canvas using a range of techniques, so researchers use methods reflecting ontological and epistemological presuppositions about their research worlds. Contrasting Rembrandt with Pollock presents, through metaphor, our case for seeing differences between realists and interpretivists, whether they paint or do research.

In Search of the Bigger Picture : The New Irish Art

"...the first thing an artist does is to try and transcend ideas of identity, rather than to go in the opposite direction." These words spoken by Shane Cullen in an interview with Mark Ward {Interface, University of Ulster, Belfast, May 12, 2006) could be used to sum up much of what is relevant in new Irish Art. This essay looks at Irish art made since the mid-nineteen-nineties and points to the new internationalism that is now a characteristic of work from this island. The post-colonial legacy that was an inseparable part of the bagage carried by Irish artists for most of the 20th century has finally been set aside as artists look ahead to a new century and a new millennium. Significantly this liberation is linked to a shift in political, economic and demographic changes. The generation of Irish artists who have come to prominence since 1995 can now look beyond the concerns of their own island to the politics of the death penalty in Texas, the re-presentation of historic events and debates through the multi viewpoints enabled by new media, and global and universal concerns that range from climate change to age-old issues of loneliness and poverty without having to link this to a specific or recognisable Irish context. This essay looks as some of the artworks that have emerged as a result of this new consciousness.

Charles Sheeler: across media

Directors' Foreword Preface Lenders to the Exhibition Across Media: Surveying the Boundaries of Art Photography: Doylestown Interiors, 1917 Film: Manhatta and the Cityscape, 1920 Commercial Photography: The River Rogue Factory, 1927 Mixing Media: The Artist Looks at Nature, 1943 Photomontage: New England Irrelevancies, 1946 Chronology Appendix: Commercial Photography for Conde Nast Acknowledgements Select Bibliography Index Photographic Credits

Site-Responsive

Site-specific work is hardly new. No doubt the urge to perform predates the development of theatre and gallery spaces as privileged locations for presenting manufactured images. And certainly there is a rich and extensive history of works that have taken place outside of these “traditional” architectures of presentation,1 for various economic, political and aesthetic reasons.2 Recently, however, there has been a proliferation of works that posit themselves as “site-specific.” Non-traditional venues are all the rage, as artists look to reach new audiences, to reinvest aspects of daily life into the distilled languages of performing or, conversely, to transform mundane locations by enlivening them through performative gestures.

Songs of Healing and Regeneration: Pentecostal Gospel Music in Zimbabwe

AbstractThis study examines the texts of Zimbabwean gospel music to illustrate images of hope, healing, and regeneration. By analysing songs that were recorded between the late 1990s and 2005, the study highlights the importance of the social context to religious music performance. The study provides a description of the socio-economic context in which gospel music in Zimbabwe has been performed. The message of hope found in selected gospel songs is outlined, the theme of healing in gospel music is examined and the theme of Africa's renewal in Zimbabwean gospel music is highlighted. The study also describes how artists look forward to a new era of Africa's prosperity and progress. Throughout, reference is made to specific biblical passages that have inspired the different songs.

Let Nobody Turn Us Around: Voices of Resistance, Reform, and Renewal. An African American Anthology

Part 1 Foundations - slavery and abolitionism: the interesting nature of the life of Olaudah Equiano, 1789 the founding of the African Methodist Episcopal Church, Richard Allen David Walker's appeal, 1829-1830 the statement of Nat Turner, 1831 slaves are prohibited to read and write by law, 1831 what if I am a woman?, 1833, Maria W. Stewart a slave denied the right to marry, 1834 Solomon Northrup describes a New Orleans slave auction, 1841 let your motto be resistance!, 1843, Henry Highland Garnet arOnt I a woman?, 1851, Sojourner Truth Frederick Douglass - what to the slave is the Fourth of July, 1852 the spirituals - go down Moses and didn't my Lord deliver Daniel. Part 2 Reconstruction and reaction - the aftermath of slavery and the dawn of segregration, 1861-1915: Frederick Douglass - what the black man wants, 1865 black urban workers during reconstruction pioneering black feminist, Frances Ellen Watkins Edward Wilmot Blyden and African diaspora the national association of coloured women - Mary Church Terell and Josephine St. Pierre Ruffin Paul Laurence Dunbar - I don't know why the caged bird sings Booker T. Washington and the politics of accommodation crusader for justice, Ida B. Wells-Barnett The Niagra movement, 1905, William Edward Burdghardt Du Bois The Brownsville affair, 1907. Part 3 From plantation to ghetto - the great migration, Harlem renaissance and world war, 1915-1954: black conflict over World War I black bolsheviks -Cyril V. Briggs and Claude McKay Langston Hughes and the Harlem renaissance the negro woman and the ballot, 1927, Alice Moore Dunbar-Nelson Harlem in the 1920s, James Weldon Johnson black workers in the Great Depression the Scottsboro trials, 1930 Adam Clayton Powell, Jr. and the fight for black employment in Harlem black women workers during the Great Depression southern negro youth conference, 1939 A. Philip Randolph and the negro march on Washington movement, 1941 Paul Robeson - the negro artist looks ahead the Brown decision and the struggle for school desegregation, Thurgood Marshall.

Newly Desiring and Desired

Newly Desiring and Desired

The Art of a Cytotechnologist

studio. She holds Hostile Takeover. Imagine an artist. What do you see? Someone who's dressed entirely in black, who buys paint instead of food, who lives in a garret? This artist looks nothing like that. In fact, she looks like someone who may work right next to you in the laboratory. Not long ago, that's exactly where you could have found Catherine M. Keebler, RN, CT(ASCP), CFIAC. Her 10-page curriculum vitae describes her extensive accomplishments as a cytotechnologist, supervisor, teacher, writer, and editor. Today, the cells she screened during her 34-year career are featured subtly in her art, which is on display in the homes of collectors in several countries.

A Zuni Artist Looks at Frank Hamilton Cushing

. Zuni Artist Looks at Frank Hamilton Cushing. Phil Hughte. Zuni, NM: Pueblo of Zuni Arts and Crafts, A:shiwi A:wan Museum and Heritage Center, 1994. 125 pp.

A Zuni Artist looks at Frank Hamilton Cushing: Cartoons by Phil Hughte, Pueblo of Zuni Arts and Crafts, Zuni, New Mexico

This book is a very unique look into the legacy of Frank Hamilton Cushing at Zuni and his influence on the Zuni people by the Zuni cartoonist Phil Hughte. This volume of Hughte's cartoons depicts Cushing at various periods and important moments of his career at Zuni. Although Hughte's cartoons selected Cushing moments at Zuni require no words to express Cushing's influence on the pueblo, Hughte provides captions to each of his cartoons designed to explain what Cushing was doing to the reader who is not intimately knowledgeable about Cushing's work.

A Zuni Artist Looks at Frank Hamilton Cushing: Cartoons by Phil Hughte.

A Zuni Artist Looks at Frank Hamilton Cushing: Cartoons by Phil Hughte.

Thinking about Art: Conversations with Susan Hiller

Part 1 Inside all activities - the artist as anthropologist: art and anthropology, anthropology and art an artist looks at ethnographic exhibitions dedicated to the unknown artist. Part 2 Within and against - women being artists: I don't care what it's called women, language and truth looking at new work a portrait of the artist in a photomat reflections O'Keeffe as I see her. Part 3 Fragments of a forgotten language - automatism, dream, collective reveries: Belshazzar's feast/the writing on your wall abstract fire theory and art the dream and the word the word and the dream. Part 4 Working through culture - conventions of seeing: thirteen male absences the idea of multiplicity in art notes for a conference on postmodernism an audience for art. Part 5 Objects as events extended over time - the nature of representation: duration and boundaries collaborative meaning - art as experience slow motion. Part 6 Art and knowledge - a critique of empiricism: it is all not really available for us anymore working through objects secret practices on display. Appendices: sacred circles.