Production Of Artworks Research Articles

Outside of Memories We Belong, Women of Yugoslavia

This article addresses the issues surrounding the Yugoslav Civil War by offering my personal narrative in relation to loss and disappearance resulting from the exposure to war and sanctions in the nineties and the “Merciful Angel“ operation of the bombing of Serbia by NATO in 1999. It thus focuses on the female interpretation of people, ways of life, buildings and human artifacts belonging to the historical period of communist Yugoslavia which once were, yet no longer remain. The work with archives, especially the photographs which originate from my personal family possession, brings closer these ghosts of the past times to the present moment. At the same time, photography is a means to investigate the position and treatment of women during and after the period of Yugoslavia, their efforts and struggles for emancipation. The usage of photography as a visual narrative allows an insight into the lives of women during communism through the lens of my closest female family members. The article tackles different issues concerning women in communist Yugoslavia, and follows certain steps in their history, from the emancipation following the Second World War and participation of women in battle as combatants and nurses, their efforts in rebuilding the country and subsequent reestablishment of patriarchal values which occurred at the start of Yugoslav Civil war and conflicts that marked it. Autoethnography as a research method combined with personal narrative allows a deeper understanding of culture and values of Yugoslav society and their subsequent clash. In addition to this, it celebrates the importance of female voice and activism in the constant battle against patriarchy and women who chose to defy it by acknowledging responsibility and the patriarchal nature of war. Photographic practice-based research allows an insight into individual stories which form a deeper understanding of the pre- and post- war Yugoslav society and political circumstances surrounding it. Author(s): Ivana Mancic Title (English): Outside of Memories We Belong, Women of Yugoslavia Journal Reference: Identities: Journal for Politics, Gender and Culture, Vol. 17, No. 2-3 (Winter 2020) Publisher: Institute of Social Sciences and Humanities - Skopje Page Range: 82-88 Page Count: 7 Citation (English): Ivana Mancic, “Outside of Memories We Belong, Women of Yugoslavia,” Identities: Journal for Politics, Gender and Culture, Vol. 17, No. 2-3 (Winter 2020): 82-88. Author Biography Ivana Mancic, Nottingham Trent University Ivana Mancic is a Ph.D, researcher in Fine Art, School of Art and Design at Nottingham Trent University, U.K., with the focus on art practice aimed at the production of multi-disciplinary artworks, videos and installations, the purpose of which is to display the personal narrative to address the issues of war, loss and belonging, related to the specificity of the ex-Yugoslav context in order to contribute to the developing of the female voice of artists and pacifists in contemporary art. The personal narrative is presented in the written form through artworks, texts, essays and reflections on war experiences and current world crises through intersections between the present and the past.

Artists as catalysts: the ethical and political possibilities of teaching artists in literacy classrooms

PurposeThis study aims to discuss the ethical and political possibilities offered by the presence of teaching artists (TAs) and visual artwork in racially and culturally diverse high school literacy (English Language Arts) classrooms.Design/methodology/approachThis study explores episodes from two separate ethnographic studies that were conducted in one teacher’s critical literacy classroom across a span of several years. This study uses a transliteracies approach (Stornaiulo et al., 2017) to think about “meaning-making at the intersection of human subjects and materials” (Kontovourki et al., 2019); the study also draws on critical scholarship on art and making (Ngo et al., 2017; Vossoughi et al., 2016). The TA, along with the materials and processes of artmaking, decentered the teacher and literacy itself, inviting in new social realities.FindingsTAs’ collective interpretation of existing artwork and construction of new works made visible how both human and nonhuman bodies co-produced “new ways of feeling and being with others” (Zembylas, 2017, p. 402). This study views these artists as catalysts capable of provoking, or productively disrupting, the everyday practices of classrooms.Social implicationsBoth studies demonstrated new ways of feeling, being and thinking about difference, bringing to the forefront momentary possibilities and impossibilities of complex human and nonhuman intra-actions. The provocations flowing from the visual artwork and the dialogue swirling around the work presented opportunities for emergent and unexpected experiences of literacy learning.Originality/valueThis work is valuable in exploring the boundaries of literacy learning with the serious inclusion of visual art in an English classroom. When the TAs guided both interpretation and production of artwork, they affected and were affected by the becoming happening in the classroom. This study suggests how teaching bodies, students and artwork pushed the transformative potential of everyday school settings.

Compelling Labor and Chilling Dissent: Creative Resistance to Coercive Uses of Solitary Confinement in Prisons and Immigration Detention Centers

Solitary confinement has been used for centuries as a mechanism for controlling incarcerated people. Increasingly, however, prisons and immigration detention centers are strategically administering solitary confinement specifically to compel incarcerated people to perform labor. The coerced labor of incarcerated people acts as a tool in a system of racial capitalism. The largely uncompensated labor of incarcerated people results in savings for prisons and immigration detention centers across the United States. These economic savings make it efficient for the government to continue filling prisons and immigration detention centers with people of color. This Note, published in Volume 36 of the Harvard BlackLetter Law Journal, explains how solitary confinement and forced labor exacerbate each other in our current system of racial capitalism. This Note offers five observations: First, when solitary confinement is used specifically to threaten people to work and as punishment when they refuse to do so, it continues a legacy of exploiting the labor of people of color to further a system that protects white privilege, power, and profits. Second, officials in both prisons and immigration detention centers today use solitary confinement as a threat to coerce incarcerated people into performing low-wage or no-wage labor and as punishment for refusing to work. The use of solitary confinement to compel labor is ubiquitous in federal and state carceral facilities, whether managed by the state or by private corporations. Third, solitary confinement is used to chill organized dissent regarding forced labor in both prisons and immigration detention centers. Incarcerated people have been preemptively placed in solitary confinement to prevent them from demonstrating against labor conditions and have been placed in solitary confinement as punishment for rising up. Fourth, labor coerced using the threat of solitary confinement is used to construct and reconstruct the infrastructure of solitary confinement itself. In state and federal prisons, incarcerated people are tasked with producing items like beds and restraint loops that are used to furnish solitary confinement cells. In immigration detention centers, forced labor is used to clean and maintain solitary confinement cells and other areas of carceral facilities. Fifth, advocating to end practices like solitary confinement and forced labor requires creative resistance by people inside carceral spaces and people outside of them. Art can be a powerful tool to bring oppressive conditions to the public’s attention, but care must be taken to avoid recreating elements of the prison-industrial complex through the production and display of activist artwork. The ubiquity of forced labor resulting from the threat of solitary confinement exposes the destructive and pervasive nature of carceral violence used to further a system of racial capitalism. Understanding how oppressive practices compound one another can help us reject them altogether and imagine a world without carceral punishment.

Biological Specifics of Musical Performing Memory Essence for Musical Performance Efficiency

In classical music art discipline, the memory for musical performance (i.e., music performing memory MPM) at typological analysis level is the type of musical executive prospective memory. based on executive functions and biological conditions. Its structural components are semantic declarative, kinesthetic, and emotional memory. Musical performance concern the production of musical artwork by vocal or musical instrument forms. The efficiency of this process is conditioned by ergonomic, effective work on learning, and memorizing the music. It is regulated and organized from the level of ‘reading a vista’ the musical notes text until completed memorizing for target level of music performance. The article, from the health psychology mainstream, presents methodical, practical tips with recommendations resulting from the biological principles, regularities, and specifics of this process revealed in the empirical data of such areas as neuropsychology, psychophysiology, cognitive psychology, biological psychology, and music pedagogy, with additional independent empirical verification in counseling of musicians at professional music education level.Â

Political Enchantments: Aesthetic Practices and the Chinese State

AbstractThe special issue’s editors introduce the rationale for the following articles, all of which take up aspects of the relations among the production of artworks, the behavior of audiences, an...

Embodied Absence and Evoking the Ancestors: A Collaborative Encounter

This paper argues that through participation, dialogue, co-action and the occurrence of immersive experiences, as suggested by Kester (2011), key elements of the research process, relationship, and friendship deepen and are enriched by engaging with absence and presence as part of a chosen activity and bodily experience. The following narrative explores how the production of visual artwork and co-created ritual experience in a chosen landscape weaves a gossamer safety net across the chasm of loss and raises questions of absence and presence, personal loss and the collaborative shared experience; the power of ritual, conversation, and object-making give attention to the presence of absence. My argument builds on the notion of presence, manifest absence and Otherness (Law, 2004, pp. 84-85) and extends the ideas that absence can be located in space and have materiality and agency (Meyer & Woodthorpe, 2008).
 

Il Tango e altre statuette: costumi e quotidianità del primo Novecento nelle opere di Edgardo Simone.

The production of art works by Edgardo Simone (1890-1948), between Italy and the United States, and the iconographic choice dedicated to habits and costums. The sculptor made statuettes in terracotta or bronze that represented children, men and women in a veristic style. His sketches, from the 1910's to the 1940's, gives us back an inspiring overview of ways and roles of Italian and American society, for example: the happy soldier, the Neapolitan coachman, the woman is having the hair bobbed, the bellhop, little rascals. the colored young boxer, girl doing waterskiing.

Botany through the Looking Glass: Cognitive Neuroscience and its Role in the Use of Art in Botanical Education

Student engagement within the discipline of Botany is not always limited to scientific content. The patterns, colours and shapes that are produced when investigating plant anatomy via sectioning are highly aesthetic and can immediately engage students. The boundaries between aesthetics and science are often blurred or, more correctly, imagined. Nurturing and developing the inspiration drawn from the integration of these two worlds provides an alternative way of engaging students in the theoretical content of the discipline. Student exposure and engagement with native Australian Flora and botanical education is too often limited and finding novel ways to engage students with Botany is critically important; even more so in this current era of Plant Blindness and climate change denial (Jacobson et al., 2016; Wandersee & Schussler, 2000). To combat this, contemporary neuroscience and cognitive psychology research show promise toward the use of visual mediums to enhance memory, leading to an improvement in educational outcomes (Bigelow & Poremba, 2014; Cohen, Horowitz, & Wolfe, 2009; Corballis, 1966; Gloede, 2015; Jensen, 1971; Kim & Olaciregui, 2008). Therefore, encouraging students to engage with botanical content, via microscopic imagery, scientific/artistic depictions, and more specifically, the production of drawings and artworks (Fernandes et al., 2018; Rosier, Locker, & Naufel, 2013) should be further incorporated into curricula to increase engagement and establish a deeper connection to Botanical subdisciplines such as plant taxonomy, morphology and systematics. In this paper, with reference to established research and an example of a science-art project, we discuss the ways in which the fusion of the aesthetic and scientific worlds creates a feedback loop from which the creative process inspired from scientific material develops a deeper enquiry-based understanding of the material itself

Using a Machine Learning Algorithm to Create a Computational Artwork: Variable

As computational systems have become an integral part of our daily lives, we often see that contemporary art also has adapted itself with the newborn technological changes in diversified dimensions. Machine Learning, which has recently become a remarkable development in science, has also begun to manifest itself in various artistic works. As accordingly, the artwork that has been created by the author of this article named Variable stands as an interactive work of art that embraces machine learning algorithms within its compositional structure. The artwork was extensively influenced by the sophisticated discourse of German philosopher Heidegger's book “Being and Time”. Consequently, Being and Time text has been taught to a machine learning system, and thus the system has been able to automatically generate new original contents when the viewer interacts with the touch of a button. The generative system performs its Machine Learning Markov Chain operations with the implementation of a Python programming language-based library named Markovify. The work constantly redefines its own artistic title and statement with the use of a machine learning framework. In this article, the contribution of machine learning to the production of artworks is being examined while focusing on various implementations.

Samuel Beckett e o minimalismo

O artigo propõe uma aproximação entre Samuel Beckett e um conjunto de artistas visuais, em particular escultores, associados ao Minimalismo norte-americano e à sua imediata posteridade, artistas como Donald Judd, Robert Morris, Sol LeWitt e Bruce Nauman. Essa aproximação tem por base dois elementos: 1) a utilização de procedimentos artísticos comuns a todos esses artistas, ou seja, o emprego de esquemas seriais e repetitivos na produção das obras; 2) uma análise do ensaio de Rosalind Krauss, “LeWitt in Progress”, que defende a proximidade entre tais artistas por meio de uma forma de racionalidade própria ao esquema das séries. Com base nisso, o artigo interroga se tais artistas teriam sido levados aos esquemas seriais pelo enfrentamento de problemas semelhantes em cada um de seus meios artísticos. Em outras palavras, pergunta-se qual a especificidade do recurso ao serialismo em cada meio artístico empregado por eles, da prosa às artes visuais.

Know Thy Selfie: using contemporary art to teach adolescent identity exploration

Purpose The purpose of this paper is to highlight how one high school psychology teacher helped students explore the concept of identity exploration and express their own personal identity through the use of contemporary art in a high school psychology course. Design/methodology/approach In this paper, techniques one high school teacher used for utilizing the visual arts to teach identity exploration in a high school psychology course are shared, including student discussion surrounding the visual analysis of contemporary artwork, thoughtful student application of developmental theories and the student production of original artwork to express one’s identity. Findings Students participating in the lesson engaged enthusiastically in the discussion of the use of selfies in contemporary art and demonstrated thoughtful reflection in the creation of their own selfies. Research limitations/implications Future research is needed to systematically investigate the effectiveness of incorporating contemporary art as a means of teaching identity exploration to adolescents as part of a high school psychology curriculum. Practical implications Adolescent exploration is a key feature of the adolescent experience and is part of the psychology curriculum at the high school level. Such courses afford students the unique opportunity to apply developmental theories and theories of identity exploration to recent occurrences in their lives. One possibility for teaching identity exploration is through the visual arts. Originality/value This lesson advances psychology instruction through the purposeful scaffolding of identity exploration as both content and process using contemporary art.

Object Lessons: Derek Mahon's Material Ekphrasis

Abstract Derek Mahon, like many writers of ekphrastic poetry, uses the interartistic encounter as an opportunity to meditate on his own aesthetic practice. While the self-reflexive dimensions of Mahon's ekphrases have received considerable critical attention, the implications of his choice of source material remain underexamined. Many of Mahon's ekphrases respond not simply to paintings, but to works depicting three-dimensional objects and architectural spaces: indeed, he sometimes treats rooms and things as though they were the art objects in question. This is the case in a variety of poems, from “Courtyards in Delft” and “The Studio,” to later ekphrases like “Studio in Antibes,” and “New Space.” As these titles suggest, many of the objects and spaces he chooses are used in the production of further artworks—some of his best-known material ekphrases are responses to artists' rooms. This predilection repays critical attention, as the materiality of Mahon's ekphrastic writing shapes its metapoetic work in significant ways. Many of Mahon's aesthetic reflections concern abstraction, materiality, craft, and making, and these concerns take on additional complexity when the ekphrastic sources themselves involve physical things. Most importantly, Mahon's material ekphrases shed light on some of the ambivalence and ambiguity attending his aesthetic ideals.

"Her Beauty Captivated His Mind And The Sword Severed His Neck!": The Changing Depiction of Judith Beheading Holofernes from the Pre-Renaissance Era to Contemporary Society

This study examines artistic depictions of the story of Judith beheading Holofernes in the Book of Judith from different historical eras. The goal of these case studies is to bring attention to how art has reflected ideas about women in the past using sexist stereotypes. This article treats these ideas and the production of artwork as historically contingent in order to question the misogyny displayed through the history of art. Using historical research and stylistic analysis, this article will argue that Judith was portrayed differently during each era in response to how women were viewed at the time.

Jacques Maritain's Ethics of Art

AbstractI examine Jacques Maritain's views on the relationship between art and ethics or what is today called the ‘ethical criticism of art’, and examine what Maritain's thought can contribute to debates in contemporary aesthetics and wider society. In part I of the article, I approach Maritain's attempted reconciliation of artistic freedom and the demands of morality in three steps, first recalling Maritain's definition of art, second looking at Maritain's analysis of the extra‐artistic concerns of the artist, and third offering a critique of Maritain's views on why art is valued by the community and what justifiable moral claims of the community upon the artist might be—particularly regarding the method of production of artworks. Comparing Maritain's theories to those of contemporary writers in part II, I argue that Maritain's ethics of art can be used to complement Jacques Rancière's notions of the ‘distribution of the sensible’ and ‘artistic regimes’, and that, in the terminology of the ethical criticism of art, Maritain affirms a position which is a composite of ‘moderate moralism’ and ‘ethicism’—a position which is both explanatorily powerful in ascertaining how and why we recognise and value art, and flexible in accommodating changing artistic forms and practices.

'La Escocesa': A fabric of Images

The banning of the practice of graffiti in public space since the approval of the civic regulation in 2006 has restricted the production of graffiti artworks in Barcelona. It transformed and coerced the local graffiti and street art scene towards new forms of production in the city, which are the central focus of this article. ‘La Escocesa: A factory of images’, is based on my dialogues with the resident graffiti artists of the art centre ‘La Escocesa’ in ‘Poble Nou’. Some of these artists participated in both the creation of the graffiti scene in the 90s and the development of this practice in the city. Today they are recognized artistic figures of the local and international graffiti scene. I shared with some of these graffiti artists in the art centre some of my fieldwork experiences in connection with other local artists and representatives of the local council. In addition, I also opened up dialogues with them using anthropological examples about art and artists, the city and the space. The following section contains part of the conversations, reflexions and debates that we had.

Remediating Destroyed Human Bodies: Contemporaneity and Habits of Online Visual Culture

Remediating Destroyed Human Bodies: Contemporaneity and Habits of Online Visual Culture

On Zero Waste in Art and the Reproduction of Capitalism with 'Human Face'

A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay engages with the increasingly popular trend of 'zero waste', one more and more shaping the art world itself. It argues that the devotion to ethical consumption, to recycling, and especially to upcycling and production of artworks for the consumption of the rich falls within the currently dominant ideology of capitalism with a human face. The author also discusses zero waste with the artist Lavinia Lanner.

Knowledge, education and aesthetics

The philosophy of Immanuel Kant has been important in education theory, especially in the historical context of the Enlightenment and its legacies on contemporary understandings of global education. Particular reference is given to Kant’s writing on Enlightenment thinking and especially to his 1803 Über Pädagogik/Lectures on pedagogy whose groundwork tends to be thought from an empirical anthropology. This paper aims to question education, though from the perspective of a Kantian understanding of aesthetic experience, a perspective developed initially from my reading of Denis J. Schmidt’s Lyrical and Ethical Subjects (2005). In the Critique of Judgement (1986), Kant develops an ‘Analytic of the Beautiful’ that offers transcendental grounds for the possibility of aesthetic experience. In doing so, he discusses, somewhat briefly, training in the fine arts and even more briefly offers, somewhat indirectly, a far-reaching transcendental ground for pedagogy. It is these two brief accounts that form the substance of this paper, requiring a somewhat extended introduction to Kant’s Critique of Aesthetic Judgement in order to develop its analysis. From this analysis, two key questions arise: if fine art cannot be learned, and if imitation would ultimately aim at producing an objectively determinable rule—via a determinable concept—for the production of art works, how does one proceed with education in the fine arts? And, secondly, as a corollary, if genius is reserved for precisely what cannot be learned but yet can be conceived and communicated, what possible purpose is served by aesthetic ideas with respect to cognition itself?

El arte como tecnología de la identidad: de la obra a la instalación

El artículo plantea, desde la sociología del arte, un recorrido por el arte vasco contemporáneo que tiene como fin analizar hasta qué punto las artes plásticas han operado, en el contexto vasco, como tecnologías de la identidad, esto es, cómo se ha producido identidad mediante determinados artefactos artísticos. Sin embargo, no es hasta recientemente, con el advenimiento de las post-vanguardias, que el propio proceso de construcción identitaria a través del arte se hace reflexivamente explícito y pasa a formar parte del repertorio de los artistas. El texto echa mano de la dicotomía obra/instalación para analizar este salto en las concepciones del arte y la identidad (y su mutua relación): el paso de un arte moderno, basado en la producción de obras cuya función es representar determinada “manera de ser”, a un arte post-moderno que hace visibles en la propia obra los procesos a través de los cuáles algo “llega a ser” a resultas de la movilización de recursos artísticos con vocación deconstructiva.

Conservation Science and Contemporary Art: Thinking about Tenerife

ABSTRACT Art has long been seen as a way to illustrate conservation science for public outreach, especially to children. However, art has a greater role to play as a partner in interdisciplinary practice. Here we explore four examples where early-career conservationists have used the production of artwork inspired by contemporary art movements to engage critically and emotionally through the formalisms of art with conservation issues on the island of Tenerife. The authors suggest that the production of art by conservationists and as conservation (and vice versa) is key to learning to translate between art and science, leading to broader interdisciplinarity.