Contemporary Art Research Articles

Art curation in virtual spaces: The influence of digital technology in redefining the aesthetics and interpretation of art

The advent of the digital revolution and the ubiquitous integration of digital technology in art curation, have led to unprecedented transformations in reshaping the accessibility and engagement of art and heritage. This study delves into the intersection of digital technology and art curation, and attempts to explore the multifaceted and transformative influences of digital technology in curatorial practices in the contemporary art world. The research used a case study approach and investigated Google Arts & Culture and the Rijksmuseum’s Rijksstudio as prominent examples of large-scale digitalisation and digital art curation. The study aims to establish a nuanced and comprehensive understanding of art digitalisation, and how digital practices are redefining curatorial methods in the art world. Drawing from the critical perspectives concerning digitalisation, the study deliberates on the shifting paradigms of authenticity, the digital divide and the diminishing materiality of artworks in virtual environments. The findings from the study suggest that digital transformations in curatorial practices have ushered in an era of increased accessibility, and immersive user interactions with art and heritage. However, the digital curation of art manifests the emergence of a post-custodial paradigm, which is characterised by commodification of art, and decontextualisation of art and heritage.

Heritage and cinema: curatorial design of moving image art in Chinese urban heritage sites

This study investigates the curatorial design and relationship between cinema and urban heritage buildings by examining their visual interaction. Building on the ideas of “narrative architecture” and “the curatorial,” it focuses on a space-related structure that indicates post-production approaches to mediating and translating moving image art. Four heritage buildings in China are selected and categorized into “narrative space” and “spatial narrative” to identify how curatorial practices make the contemporary nature of cinema and the diachronic nature of heritage compatible. In this context, narrative architecture uses associative imagination as a form of metonymy to reconfigure the physical order of exhibition spaces. The concept of expanded cinema juxtaposes contingency and inevitability in perceptions, allowing the present to represent the past and the past to inspire the present. Moreover, the curatorial design acts as the intermediary that reconciles and constructs a responsive and productive relationship between heritage and cinema. Ultimately, this study aims to contribute to the broader discourse on integrating contemporary art within heritage contexts, providing practical insights, and theoretical reflections relevant to both substantial heritage rejuvenation and contemporary curatorial practices.

The Body and the Gallery: Cross Exhibition Review of Sarah Lucas: HAPPY GAS, Women in Revolt!, and If Not Now, When?

From autumn 2023 to spring 2024, several of London's galleries showcased the works of contemporary women artists, including Sarah Lucas and Helen Chadwick. This review critically examines three key exhibitions: Women in Revolt! and Sarah Lucas: HAPPY GAS at Tate Britain, and If Not Now, When? at Saatchi Gallery’s Season on Sculpture. As the exhibitions highlight themes of identity, resilience, and empowerment, particularly focusing on the female body as a powerful medium of expression, this review explores how women artists utilise the female body in contemporary art as a form of resistance against traditionally repressive, male-dominated art practices. The female body, a common feature in feminist art, is often used as a symbol of rebellion, with artists asserting control and autonomy over their bodies through their work. By occupying these contemporary art spaces, these artists affirm their positions within both the public sphere and the broader art discourse. This cross-exhibition review delves into the current renaissance of the gallery space as a site of resistance, examining its contributions to wider feminist discourses and art practices.

Multisensory Technologies for Inclusive Exhibition Spaces: Disability Access Meets Artistic and Curatorial Research

This article discusses applications of technology for sensory-disabled audiences in modern and contemporary art exhibitions. One case study of experimental artistic and curatorial research by The OtherAbilities art collective is discussed: a series of prototype tools for sensory translation from audible sound to vibration were developed to be embeddable in the architecture of spaces where art is presented. In the article, the case study is approached from a curatorial perspective. Based on bibliographical sources, the article starts with a brief historical reference to disability art activism and a presentation of contemporary accessibility solutions for sensory-disabled audiences in museums. The research for the case study was conducted during testing and feedback sessions on the prototypes using open-ended oral interviews, open-ended written comments, and ethnographic observation of visitors’ behavior during exhibitions. The testers were d/Deaf, hard of hearing and hearing. The results focus on the reception of the sensory translation of audible sound to vibration by test users of diverse hearing abilities and on the reception of the prototypes in the context of art and design exhibitions. The article closes with a reflection on how disability scholarship meets art curatorial theory in the example of the article’s case study.

Shifting perspectives: exploring the intersection of traditional and digital photography in contemporary artistic practices

The advent of digital photography has ushered in a dynamic era marked by evolving paradigms and practices in visual representation. This research delves into the profound interplay between traditional and digital photographic modalities, investigating their impact on contemporary art and society. Through an art-based research approach, this study examines an innovative artistic experiment conducted by Palestinian artist Ahmed Al-Saffarini. While Al-Saffarini's work serves as a starting point for philosophical reflection, it is the broader conceptual exploration of digital and traditional photography that forms the core of this research. By burying vintage photographic negatives underground for an extended period, Al-Saffarini sought to explore the transformative potential of integrating traditional and digital photography techniques. Drawing on a rich body of literature encompassing philosophical discourse, artistic practice, and technological advancements, this research elucidates key themes shaping the trajectory of photography in the digital age. Phenomenological perspectives illuminate the experiential dimensions of perception and consciousness inherent in the photographic medium, while scholarly debates on analogue versus digital photography underscore the epistemic complexities and artistic possibilities engendered by technological innovation. Furthermore, this study highlights photography's role as a conduit for memory, identity formation, and cultural expression in contemporary society. Through an analysis of Al-Saffarini's artistic experiment and its implications, this research contributes to a deeper understanding of photography's transformative potential and its evolving significance within the artistic landscape. Emphasising the importance of interdisciplinary collaboration and creative experimentation, this study advocates for the integration of art-based research methodologies in scholarly inquiry, thereby enriching our comprehension of photography's multifaceted nature and its enduring relevance in the digital era.

Different variations from the same origin-- An exploration of contemporary lacquer art creation from the perspective of East Asian culture

Different variations from the same origin-- An exploration of contemporary lacquer art creation from the perspective of East Asian culture

YORGANLAMA ZANAATININ MODA VE GİYİLEBİLİR SANAT İÇİNDE UYGULANABİLİRLİĞİNE DAİR BİR ÖRNEK ÇALIŞMA “BAŞKALAŞIM MUCİZESİ SERGİSİ”

While contemporary production emphasizes speed and technology, it also retains a certain fascination with the traces of craft-centered living from the past. In this vein, designers in the fashion world have been integrating pieces into their collections that reference traditional crafts and reflect the qualities of handwork. These handmade elements, filtered through past traditions, can create design opportunities when handled with appropriate references within contemporary fashion and art. One such element is the art of quilting, a significant part of our culture, which offers contemporary possibilities for fashion with its aesthetics and propositions from the past. This study will examine how the art of quilting is handled within the context of design integrity. The two different lives of the dragonfly, which are featured in the exhibition "The Miracle of Metamorphosis," are expressed through design applications within the framework of wearable art. The study focuses on the first part of the exhibition, which tells the story of the dragonfly's first life, spent hidden under its shell underwater. The shell is conceptually considered as a quilt, a shield, and a shelter, with the meaning of "a covering, hiding, protecting, and sheltering cover." This work, expressed through the art of quilting, reflects the experiences of measurement and form in a way that is consistent with design integrity. It also demonstrates that the art of quilting, which is typically applied to two-dimensional surfaces, can be adapted to three-dimensional garment forms. Keywords: Wearable Art, Fashion, Quilting , Traditional Craft, Slow Fashion.

Mirror of Self and the World: Magical Realism and Power Dynamics in Indonesia Literature

Magical realism in literary art is often only understood in a limited way as an aesthetic element, without taking into account the depth of the symbolic meaning contained in it. In addition, the merger between magical elements and everyday reality is often not fully explored, so the potential for the narrative that can be generated is lost. This research aims to analyze the use of elements of magical realism in contemporary literary art and uncover how these elements enrich literary narratives. This research uses hermeneutic methods to explore the symbolic meanings hidden behind magical elements in literary artworks. Through a hermeneutic approach, the selected works of art are deeply analyzed through literary description, contextual interpretation, and critical reflection, with a focus on how these magical elements are integrated into literary narratives. The results show that the elements of magical realism not only enrich literary narratives, but also create a deeper and more complex experience for the audience, by blurring the boundaries between reality and fantasy. The implication of this study is that magical realism can be used effectively in contemporary literary art to create narratives that are not only aesthetically beautiful but also rich in philosophical and symbolic meaning.

Notas sobre escultura e Notas sobre escultura, parte 2

The articles “Notes on Sculpture” and “Notes on Sculpture, Part 2” by Robert Morris mark a milestone in the history of sculpture, challenging traditional notions of form and function. The emphasis on basic geometric elements and the understanding of sculpture as a spatial event, rather than a static object, transformed artistic discourse. By proposing an approach centered on the viewer’s experience and the work’s interaction with the environment, Morris paved the way for Minimalism. Through his reflections, the artist significantly expanded the possibilities of sculpture, influencing contemporary art production and criticism in a decisive manner.

Intertextuality in Lain Singh Bangdel's Paintings

Intertexuality refers to the art of involving two or more than two artistic and literary texts as a single composition of art. Western modernist technique, particularly with the style of Pablo Picasso of paintings, Nepali architecture, and socio-cultural literature based on Nepali subject matter are the key intertexuality in Bangdel's paintings, which makes his works more influential in Nepali contemporary art. The main purpose of this paper is to explore the notion of intertexuality in Bangdel's work. This study is qualitative in nature, where ideas of intertexuality have been revealed and some paintings created by Bangdel are analyzed and discussed on the basis of various primary and secondary sources.

Wall Drawing #736: Revealing Sol LeWitt’s Ink Mural Technique Using a Multi-Analytical Approach

Sol LeWitt, a pioneer of conceptual art, created during his career over 1350 wall drawings, including the Wall Drawing #736 (1993) at the Center for Contemporary Art Luigi Pecci in Prato (Prato, Italy). The painting, executed by Andrea Marescalchi and Antony Sansotta under LeWitt’s instructions, features a grid of coloured rectangles obtained by overlapping different layers of inks. During a 2021 restoration by the Wall Paintings and Stuccoes Department of the Opificio delle Pietre Dure (Firenze, Italy), an in-depth investigation of the composition and the materials used by LeWitt’s assistants in producing Wall Drawing #736 was performed. A multi-analytical approach entailing Raman spectroscopy, high-performance liquid chromatography coupled to diode array and high-resolution mass spectrometry, gas chromatography–mass spectrometry (GC–MS), and pyrolysis coupled with GC–MS was applied. Our results revealed the use of animal glue, shellac resin, paraffin wax, linseed oil, and various organic pigments. The binder in the preparation layer was identified as poly(vinyl acetate), while poly(n-butyl methacrylate) was determined as a fixative. This research provided valuable insights into LeWitt’s techniques. The acquired knowledge on the paint technique is highly relevant in supporting conservators in restoration and consolidating the many wall drawings produced exploiting the same technique all over the world.

Feminist Posthumanism, Environment and “Response-Able Memory”

Abstract This article explores the entangled relationship between memory and environment through a feminist posthumanist framework while it takes seriously an ecological and response-able perspective in shaping the traumatic past and the troubled climatic present. In so doing, it introduces the concept of “response-able memory” which encourages us to reimagine the established humanist underpinnings in cultural memory studies. In order to discuss how “response-able memory” surfaces as a mode of enquiry and highly productive new strategy to accommodate nonanthropogenic and entangled ways of remembrance in the twenty-first century, this article examines Zarina Muhammad’s (b.1982, Singapore) contemporary art which is deeply entwined with a critical re-examination of local histories and silenced (female) accounts in Southeast Asia.

Dialogue and challenge: wildflowers in contemporary Israeli art mirrored in history

ABSTRACT This article looks at images of wildflowers in contemporary Israeli art and their evolution in Israel's visual cultural. Wildflowers were regarded a part of the Zionist ideology in strengthening the connection of the Jewish People to the Land of Israel. They served as “cultural objects’ that contributed to shaping national identity by appearing on stamps, bank notes, in official Zionist publications and in botanical guidebooks. The article examines how contemporary Israeli artists relate to this tradition by looking at the artworks of six contemporary Israeli Jewish artists, using both visual analysis and in-depth interviews with the artists. The findings indicate that contemporary artists conduct a complex dialogue with the wildflowers and challenge their national symbolism. The images reflect an ambivalent relationship that includes attachment and belonging alongside discomfort and criticism.

The Human Condition in the 21st Century: Body and Architectural Space in Contemporary Art

Architectural practices that sustain economic power structures often overlook the complexity of place, prioritizing rationality and utility for funding while perpetuating issues like climate crises and income inequality. In contrast, art offers critical perspectives unconstrained by immediate practicality. This research examines how contemporary artists understand and create space to reach a spatial design approach that activates subjects and fosters new connections between humans and non-humans. In the scope of this research, seven contemporary artists who produce artworks related to either the body or space have been chosen. The discourses of artists exploring the body-space relationships serve as primary sources. Two methods are employed: logical argumentation and analysis by analogy. The latter involves visualizing the analysis of textual discourses through messy word maps to extract insights from artists’ concepts and tactics. “Artist topographies” contribute to a collective “cognitive topography,” revealing commonalities around themes of exploitation, oppression, profit, borders, otherness, agency, and complexity. The conclusion presents suggestions for an alternative spatial design approach based on the discourses and cognitive topography.

Lou's Men

This article proposes that the personal writing of gay trans activist and diarist Lou Sullivan represents an erotic theoretical project akin to Leo Bersani's “homo-ness,” which Bersani describes as gayness's capacity to “manifest not the limits but the inestimable value of relations of sameness.” Sullivan's rigorous interlacing of gender and sexuality is founded on a desire for sameness, an eroticized recognition of his developing selfhood in the men he loves. In framing Sullivan's work with Bersani, this article argues that Bersani's framework of homo-ness is limited by its conceptual basis in genital parallel, creating an inability to speak to trans sexuality. Sullivan's writing, on the other hand, founds relations of sameness between himself and the gay men he desired in a conceptual architecture that understands gayness as an already trans position. In close reading Sullivan's diaries and personal correspondence, alongside artifacts of their reception by contemporary gay trans artists, this article substantiates a sense of Sullivan as a kind of sex symbol for the enfolding of gay and trans erotic worlds in the desire for sameness. Such an analysis allows gay and trans studies to speak to each other anew on the question, What is this same in same-sex sexuality?

A Changing Representation: “Personal Writing” in Artistic Intervention in Chinese Rural Communities

As socially engaged art has played a vibrant role in responding to the crisis of the postmodernist art regime, the current post-Occupy condition has manifested itself in artistic interventions in rural China. In contrast to social writing, which encompasses street art, designers going to the countryside, and industrial empowerment to construct “good cultural governance” or “good cultural taste,” the term personal writing as used here describes a type of avant-garde intervention that has sparked interest in vernacular communities. It provides a socially minded critique of art production as bifurcated from the remaking of everyday social relations and subjectivities, political and cultural possibilities, and the rural Chinese future. Grounded in a contextual analysis of the social turn in Chinese contemporary art and the lingering “rural problem” under post-socialism, this article takes artist Mao Chenyu's Paddy Film project as an example of personal writing and proposes this artist's activisms at Dongting Lake as a specific intervening field, visual ethnography as a method, paddy rice as a distinctive “thing,” and archival practices as a deconstructive pathway that together have promoted the emergence of a resistance narrative in artistic intervention in Chinese rural communities.

Research on McLuhan's Media Theory

McLuhan is a master of media theory in the 20th century, who put forward influential media theories such as "Global Village", "The medium is the message", "The medium is an extension of the human being. He put forward influential media theories such as "Global Village", "Media is Information", "Media is an Extension of Human", and so on. McLuhan's profound insights and interdisciplinary thinking have had a profound impact on contemporary communication and art theories, and have helped to understand the interaction between the media and human beings in modern society. This paper examines McLuhan's media theory and consists of three parts: an introduction, two main chapters and a conclusion. The introduction part mainly explains the origin of the selected topic, and clarifies the innovation of this paper's research as well as the research methodology. The first chapter of the main text part discusses the relationship between media and communication, and the division of hot and cold media in turn. The second chapter discusses the dialectical relationship between media and contemporary art and technology from the perspectives of epistemology of media technology and media aesthetics, which is of great practical significance for us to correctly understand the relationship between media technology and human beings and society. The conclusion part summarizes the inevitability of McLuhan's media theory ideas, and further composes and elaborates that McLuhan's media theory is somewhat innovative.

Research on McLuhan's Media Theory

McLuhan is a master of media theory in the 20th century, who put forward influential media theories such as "Global Village", "The medium is the message", "The medium is an extension of the human being. He put forward influential media theories such as "Global Village", "Media is Information", "Media is an Extension of Human", and so on. McLuhan's profound insights and interdisciplinary thinking have had a profound impact on contemporary communication and art theories, and have helped to understand the interaction between the media and human beings in modern society. This paper examines McLuhan's media theory and consists of three parts: an introduction, two main chapters and a conclusion. The introduction part mainly explains the origin of the selected topic, and clarifies the innovation of this paper's research as well as the research methodology. The first chapter of the main text part discusses the relationship between media and communication, and the division of hot and cold media in turn. The second chapter discusses the dialectical relationship between media and contemporary art and technology from the perspectives of epistemology of media technology and media aesthetics, which is of great practical significance for us to correctly understand the relationship between media technology and human beings and society. The conclusion part summarizes the inevitability of McLuhan's media theory ideas, and further composes and elaborates that McLuhan's media theory is somewhat innovative.

Integrating Sustainability into Contemporary Art and Design: An Interdisciplinary Approach

This study confronts the ambiguous concept of sustainability within contemporary art and design, seeking to define and operationalize it through an interdisciplinary lens. By synthesizing philosophical, technological, and artistic methodologies, this research utilizes qualitative analysis and detailed case studies to evaluate the sustainable attributes of modern decorative arts. Focusing on the integration of nature and technology, the investigation spans various artistic disciplines, critically assessing their contributions to sustainable practices. The results indicate that an innovative use of materials and avant-garde design approaches significantly advance sustainability, highlighting the role of contemporary art in promoting environmental consciousness and sustainability in policy-making. Conclusively, in this paper, a paradigm shift in art and design education and policy is argued for, advocating for a proactive engagement with sustainability that extends beyond traditional artistic boundaries, thus providing a framework for future sustainable development strategies in the arts. This study offers a comprehensive model for understanding and implementing sustainability that could influence future artistic and educational practices globally.

The Influence of AI Painting on Traditional Digital Painting and Comparative Analysis of the Advantages and Disadvantages

With the emergence and development of computer technology, digital technologies such as image processing, image editing, image synthesis, and digital painting have become increasingly mature. After entering the computer age, they have also become a new media technology, and with the progress of digital technology, corresponding diverse branches have continuously emerged. As the influence of modern and contemporary art gradually expands, the public's mastery of digital technology gradually matures, and artists also begin to create art through digital technology and other forms. This paper first analyzes the background and rise of digital painting, and then compares and analyzes the differences between digital painting and traditional painting. Then, it analyzes the advantages and disadvantages of the application of AI painting in the field of art and the use process. Finally, the irreplaceability of digital painting is summarized. Although artificial intelligence has brought some convenience in painting and reduced the amount of engineering brought by repeated painting, it cannot completely replace digital painting.