Story Of Art Research Articles

Interplay of art and faith in women’s communities: Developing a heightened awareness of research perspectives and evolving methodologies

The Lost and Found: Revising Art Stories in Search of Potential Changes marked the inaugural conference of a collaborative initiative between the University of Wroclaw, Universidade Nova de Lisboa and the Polish Institute for World Art Studies in Warsaw. This unique meeting brought together university researchers and artists, creating a stimulating atmosphere. The collaborative artistic endeavours undertaken aimed to build community and explore alternative knowledge production rooted in affectivity and openness to surprise, rather than an immediate quest for success. The focus was on a shared experience of being together and learning about each other’s roles beyond the conventional boundaries of scholars and artists. At the heart of the conference was the project Residua of Pre-Modern Relations with Art in Selected Contemporary Convents in Lesser Poland and Lower Silesia, supported by the National Science Centre in Warsaw. Although the residues and anachronisms discussed during the meeting did not explicitly refer to religious orders, they provided insights into the significance of faith and the evolving nature of the sacred in contemporary art. The project’s premise challenged the distinction between the religious and the spiritual, emphasizing the roles of community, respect, and care. It was hypothesized that female religious orders maintain these values in relation to the place of art in everyday life. Consequently, if an art historian wishes to study the relationship between women’s art and the sacred in everyday life, they should learn from nuns and female artists, not merely study them.

The Final End of Man: Reading the Moralist Aesthetics of Fr. Alfredo Panizo, O.P.

Alfredo Panizo was a philosopher who served in various capacities at the University of Santo Tomas (UST) during the twentieth century. In 1954, he gave an address at the university that was also published in book form as Art and Morals. In his address/book, Panizo systematically laid out his aesthetics, which offers a criticism of modern art during a time when Edades and other modernists received institutional support from UST. Unfortunately, scholars have neither provided a comprehensive explication of Panizo’s aesthetics nor situated it in the broader history of Philippine modern art. This paper aims to address this problem. By employing Gadamerian hermeneutics, the author of the paper offers an interpretation of Panizo’s aesthetics that (1) forms a connection between his ideas and S. P. Lopez’s thoughts on proletarian art, (2) explicates Panizo’s views on beauty and transcendence, and (3) investigates Panizo’s position on modern art. Through this paper, the author hopes to add more nuance to the story of modern art in the Philippines. Although much has been written about the modernists, who made UST a springboard for spreading their ideas, scholars have barely looked at what the Dominicans at the university thought about modern art.

No Country for Old Men: Australian Art History’s Difficulty with Aboriginal Art

The subject of this article is the absence of Aboriginal art during the period that established the idea of a distinctively Australian modern art. It is intended as a contribution to the historiography of modern and contemporary Australian art history. The period discussed is the two decades between 1962, when Bernard Smith published Australian Painting, 1788–1960, and 1988, the year of the Australian Bicentenary. The article explores what changed in these years when art historians, critics, and curators, albeit belatedly and reluctantly, finally began to acknowledge the great contemporary Aboriginal painting that had long been in many artists’ sights as inspiration and model, and in plain view on display in the so-called primitive cultures’ sections of state museums. It argues that this was because it did not seem part of the national story of art.

Implementasi Prinsip Animasi dalam Gerak Personifikasi Tokoh di Film Animasi Lakontara

GEMASTIK is a competition among college students from all over Indonesia that is based on the utilization of Information and Communication Technology. Animation is one of the competition categories in GEMASTIK. Lakontara Animation participated in this competition by showcasing the story of Ketoprak art through personified characters to convey information. The values and impressions portrayed in each scene will create communication with the audience. The personified characters in this animation are objects that have to be visually presented as humans, even though they are not physically human. This is achieved by implementing animation principles in the movements of the characters in each scene. The movements of their bodies and facial expressions will represent the characters' nature and personality. The implementation of these principles has been successfully carried out in the Lakontara Animation, resulting in a significant impact on the movements of the personified characters, such as the gamelan, stage properties, and tablets as messengers to the audience, making the scenes come to life and conveying the values and impressions effectively

Seeing Pink

Seeing Pink

What Do Arts-Based Methods Do? A Story of (What is) Art and Online Research with Children During a Pandemic.

This comic draws viewers behind the final product and into the process of arts-based research. Specifically, we focus on research produced over Zoom during the Covid-19 pandemic. Based on a study of asthma caregiving, we illustrate how a 10-year-old study participant, Becca, and researcher Hannah connected in embodied, sensory and material-spatial ways across digital space through the making and unmaking of art forms using simple sensory-sculptural materials (pipe cleaners, play-doh, balloons). We consider what arts-based methods do: for the participant, the researcher, their relationship, and ethical knowledge production. And we show what research processes can look like as unpredictable, messy and patient communing.

100 × Congo: A Century of Congolese Art in Antwerp

100 × Congo: A Century of Congolese Art in Antwerp

Gandhara Art’s Influence on Buddhist Art in Xinjiang, China

The Gandhara region of India was the origin of Buddhist art, and, due to its unique geographical location, it was a place where European and Asian civilizations mingled. The original Gandhara Buddhist art style was largely influenced by the style of Classical Greek sculpture. With the gradual development, its sculpture art and Buddhist stories entered a prosperous period and began to spread eastward, exerting a profound impact on the development of Buddhist art in the early stage of western Regions and later in Xinjiang.

See me, know me, believe in me: Reimagining Pasifika student success as Pasifika in visual arts

Pasifika students bring to school rich cultural resources that offer a strong foundation on which to build creative practice. Bringing cultural awareness to visual arts education provides a powerful platform for Pasifika students to embrace success as Pasifika. The recent introduction of Tapasā—Cultural Competencies Framework for Teachers of Pacific Learners (Ministry of Education, 2018) provides an opportunity to inquire into how visual arts education can authentically reflect cultural competencies. This article seeks to share teachers’ beliefs, attitudes, and pedagogical practices that affirm Pasifika students’ success “as Pasifika”. The students themselves also offer insights into their enactment of success through their art works and stories. My experiences as a visual artist and teacher of Tongan descent grounded the research project.

Meta-Art History: Introduction to a Narratological Study of Art History

Abstract This article outlines a narratological study of art history, discussing how to tell the story of art while telling the story. With this twofold purpose in mind, the author in this article draws the grande ligne of a narrative model on the one hand and proposes a historical argument about modern Chinese art on the other. The former aims at breaking down the boundary between intrinsic and extrinsic studies of art history, whereas the latter aims at proposing a main thesis about modern Chinese art. For the main thesis, the author argues that the development of Chinese art in the twentieth and the early twenty-first centuries is primarily determined by the interaction between the influence of Western art and the Chinese responses to the influence, and the response is driven by the Chinese anxiety of cultural identity over the last one hundred years. Although the topic of this article is centralized around modern Chinese art, the theorization of the methodological approach is to generalize the narrative model for the study of not only art history but also visual culture, critical theory, and relevant disciplines in the humanities.

Pedagogical Approaches To Educating Future Actors

This article tells the story of pedagogical approaches, art and stage secrets in educating future actors. Also, the role of culture and art in the socio-spiritual life of our people, the moral and ethical upbringing of the actor, the peculiarities of theatrical art, the need to pay special attention to the education of students in all its positive qualities from the first year; it is narrated that the educator must always be in the spotlight, from the way he dresses, to the way he shaves his hair, to the way he behaves in school, to the way he behaves.

Exhibitions and the Market for Modern British Art: Independent Art of Today at Agnew's Gallery, 1906

A full account of the inception, reception, and cultural economics of Independent Art of To’day, a major show at Agnew’s London gallery in 1906, illuminates a crucial – but often overlooked – moment in the story of modern art in Britain. Its analysis nuances our understanding of artistic practice, the art market, and viewers’ exposure to and understanding of modern art. The exhibition, which featured work by forty living artists united by their resistance to the Royal Academy and their adoption of a ‘modern’ aesthetic, was at the time seen by many critics to present a pivotal moment in the history of British art. This essay examines the exhibition’s criticism and its financial records to shed new light on current debates surrounding the relationship between economic and symbolic value, on the relationship between critics and dealers, and on the development of modern art and the modern art market in Britain.

Drawing infertility: an interview with Paula Knight, Jenell Johnson, Emily Steinberg, and Phoebe Potts

ABSTRACT Although infertility is a gender-neutral health quandary, women are often blamed and stigmatised for the couple’s failure to reproduce. The valorisation of the maternal within the discursive constructions of womanhood engenders severe psychic harm to childless women. In such a context, the recent proliferation of graphic memoirs on infertility, where women recount the affective perceptions and sensed realities of their infertility experiences attains special significance. In this email interview, four graphic memoirists, Paula Knight, Jenell Johnson, Emily Steinberg, and Phoebe Potts, reflect on a wide range of issues centred on female infertility including the social pressures surrounding motherhood, liberative potential of comics and graphic medicine, readership and community building, and the significance of creating art and telling stories. The conversation illustrates how these graphic artists create contexts and generate a unique visual-verbal vocabulary to visibilize and thereby destigmatise female infertility. The interview is divided into two sections: in Part A titled Of Comics and Infertility, the authors respond to generic questions related to infertility, graphic memoirs among others and, in Part B titled Storytelling is my contribution. Otherwise, why am I here? Each of the authors responds to questions related to their respective infertility memoir.

Source – Uncovering Stories of Art in Ireland: digitizing Irish art research collections in the National Gallery of Ireland

In 2017 the National Gallery of Ireland was awarded funding from the Department of Culture, Heritage and the Gaeltacht (DCHG) for the development of an online resource, focusing on its Irish art research collections. Entitled Source – Uncovering Stories of Art in Ireland, this multi-annual project aims to catalogue and digitise the collections in the ESB CSIA and ensure that these valuable collections relating to Ireland's artistic history and memory are preserved and can be easily accessed by researchers. Now in its penultimate year, Source will be launched in 2021.

Camouflaged Histories

Lei Yan 雷燕, whose artistic practice was shaped by a decades-long career in the Chinese military, began a period of transition through participation in a 2002 restaging of the Communist Red Army’s 1934 Long March as a multi-sited international art project. Her resulting encounter with US feminist art icon Judy Chicago raised questions about the potential neocolonial influence of global feminist art. The work Lei subsequently produced performs an autoethnographic excavation of the sociohistorical categories—woman soldier, military artist, and woman artist—that made her as both artist and woman. She works from within a national representational corpus, subjecting it to various experiments to reveal the fields of violence it has enacted from the Sino-Vietnamese War to the Great Sichuan earthquake. Lei Yan’s meditation through photography upon national, revolutionary iconography evolved into soft sculpture objects in cloth and paper. Their arrested ephemerality decenters the human subject, drawing attention to haunting absences in conventional stories of art, feminism, and nation. In comparison with the monumental work of Ai Weiwei 艾未未, who also created pieces in response to the 2008 Sichuan earthquake, Lei’s art serves not to admonish but to bring back into consciousness lost lives and camouflaged histories.

‘A thought of home’ memorialising slavery and narrativising war in Horace Pippin’s paintings

ABSTRACTThis article investigates twentieth-century African American artist and World War I combat veteran, Horace Pippin’s multifaceted yet under-examined narrative paintings. Coming to grips with his self-reflexive artistic strategies and his experimental practice in which he does justice to the pain of daily ‘suffering’ in a search for the spiritual peace promised by a beautiful ‘sunset,’ this article examines the thematic and formal difficulties embedded in his determination to represent the ‘everyday’ lives of African American women, children, and men as liberated from a white supremacist US national context. Across his works, he bears witness to untold generations of black strategies of resistance in the face of traumatic suffering not by emphasising the exceptional atypicality but rather the ‘everydayness’ of chattel slavery as a historical institution and of World War I as a modern European phenomenon. The overall purpose of this article is to challenge the existing criteria within which we define Pippin’s body of work – as repeatedly demarcated according to seemingly clear-cut categorisations as related either to World War I, slavery, history, religion or domesticity – in order to do justice to his lifelong conviction regarding ‘My life story of art, that is my art, and no one else.’

Conventional painting as a form of reflection of the ideology of a totalitarian system

It was found that within the biased art of social realism, which reflected the doctrine of the totalitarian system, Ukrainian painting was distinguished by a variety of artistic experiments. It is shown that artists, regardless of the circumstances, sought to develop an artistic form, but because of the ideology of the Soviet state, conventional painting was formed, in which the «heroics» and «enthusiasm» of the era were decisive. The author comes to a conclusion that, despite various obstacles, the artists tended to develop the artistic form. However, due to ideological conventions of the Soviet state, there existed the situation when free work was literally impossible. Thus, conventionalism for many was the form of creative realization that secured them from total censorship, repressions, and oblivion. During the existence of the Soviet Union the art critics and historian gave a positive account of the role of the party and its leaders for development of art. Yet, modern views of the socialist realism legacy paint completely different picture, telling the true story of conventional painting and art in general.

Festivity and the contemporary: Worldly affinities in Southeast Asian art1

What is the place of the festival in the global system of contemporary art, and in that system’s history? Can the large, recurring surveys that are its most prominent exhibitions today even be considered festivals? Such questions become more pressing as sites newly embraced by that system take their place on a global event calendar, and as the events increasingly resemble those held elsewhere or merge with the market in the form of art fairs. What becomes of community and locality, of spontaneity and participation, as that market – and art history – takes up the uncommodified fringes and untold stories of contemporary art’s ever widening geography? This article stems from my research for a recent volume entitled Artist-to-Artist: Independent Art Festivals in Chiang Mai 1992–98, concerning a series of artist-initiated festivals held in northern Thailand in the 1990s known as the Chiang Mai Social Installation. These gatherings, and others like them, suggest that while national representation was the usual ticket to participation on a global circuit, the agencies and currency of national representation were not essential determinants of contemporaneity; and that it was localism, rather than any internationalism, that underpinned the worldly affinities discovered amongst artists in Southeast Asia at that time. The sites of this becoming contemporary were festive, sites of celebration and expenditure rather than work and accumulation. What does this mean for contemporary art’s history and theory, and how might it change our understanding of the region’s art and its international currency today?

The heART of Activism: Stories of Community Engagement

This paper invites the reader to consider the power and potential of art for public engagement, and its use in social movement learning and in demanding the world we want now. The authors frame social movements as important sites of scholarship and learning. They emphasize that by applying creative strategies to engage in critical thought about the nature of the world and one’s position in it, artforms have the potential to make essential contributions to social change. Inspired by literature related to critical art-based learning and learning in social movements, the authors explore representations of protest art and public art exhibitions. They contextualize their writing with stories of mobile art exhibits in Sao Paulo, the ‘maple spring’ in Montreal (Tiotia:ke in the language of the Kanien’kehá:ka), and anti–Bill C-51 protests in Lekwungen territory (Victoria, British Columbia). They present and reflect on their own experiences of using art as engagement and as a representation of voice in public demonstrations.

Yugoslavia as World History: The Political Economy of Self-Managed Art

Branislav Jakovljević's study on performance and self-management in Yugoslavia and Armin Medosch's research on New Tendencies and post-Fordism share a number of analytical frameworks that the review argues partake in a broader shift towards political economy as a key framework for art historical inquiry. This shift elicits what could once again be called a world-historical perspective: both of these books anchor their narratives in post-war Yugoslavia but only in order to show that the telling of the story of Yugoslav art requires the telling of the story of the world, a story that is not simply an instance of global or transnational (art) history. Instead, these accounts affirm a certain political teleology; they (re)turn to Yugoslavia to recall something that is lost, a ruptural, future-bound history that never saw its future, and whose interrupted course they historicize, offering a recourse to historical understanding as a step towards a new strategy of resistance.