Visual Artworks Research Articles

Discursos críticos sobre el arte desde América Latina. Arte, crítica y teoría en la práctica artística de Luis Camnitzer

<p>Este artículo analiza el proyecto de Luis Camnitzer de establecer una tradición politizada del arte bajo la idea de un “conceptualismo latinoamericano”. el estudio del modo diferenciado en que sus obras plásticas e in­tervenciones discursivas participan de esta empresa y construyen los vínculos entre lo artístico y lo social, permite explorar las distintas construcciones teóricas sobre lo artístico que se tensionan al interior de la producción de Luis Camnitzer. mientras los escritos de camnitzer re-territorializan el arte al identificar “lo político” como condición de un “arte latinoamericano”, sus obras problematizan esta identificación. el “contexto” de las obras de camnitzer deja de ser transparente y se torna siempre una nueva creación.</p>

Visual Design Face Painting: Language Expressions Stylized for Wayang Punakawan

On this research, the author focused on the scope of Punakawan face painting that expected to become a starting point from the first step in making the visual standardization proposals, which the visual variety of face painting Punakawan was not consistent yet. The research objective was to become one of the methods to re-popularizing by building a visual consistency in Punakawan face painting so that it became more modern and simple without losing the original characteristics of it. The method was performed in the visual design, from visual references research, visual analysis and matching with the characteristics of each character in Punakawan, visual sketching, and computerization process, up to become final visual artwork. The benefits of the research were to be a next visual research comparison, as well as a contribution in the form of visual work; face painting Wayang Punakawan in the further development of the creative economy entered a new era. This research finds that visually, it is the necessary continuation of the design, such as attribute, proportion, gestures, and other visual elements in Punakawan face painting and it is good for Punakawan studies and other Indonesian wayang figures.

(Re)visualizing women who use drugs

This article explores a collaborative, community-based project that fuses both arts-based feminist and visual sociological perspectives through a collaboration with five women in leadership roles in a drug user union, Vancouver Area Network of Drug Users (VANDU). VANDU is situated in the Downtown Eastside of Vancouver, British Columbia, in Canada’s poorest urban neighbourhood. Through writing, photography and collage-making, participants in this study resisted dominant representations of women who use criminalised drugs by focusing on activism, family, friends and the spaces they live and work in. This paper contributes to a growing body of critical and feminist scholarship interested in using creative and visual methodologies and collaborative community artworks as tools for developing alternate perspectives about the lives of marginalised women.

Choosing Disability, Visualizing Care.

This article explores how visual images of dependency and care reflect and reinforce perceptions of people who are ill, disabled, or otherwise dependent, those who sustain them, and the meaning of the work they do. Scenes of care are a valuable index for understanding cultural assumptions about who is deserving of care, how and where care should be given, and who is obligated to serve as a giver of care. It positions these images in the context of the emphasis, within the disability rights movement, on independence. I argue that the insistence on independence entails a form of what Lauren Berlant calls "cruel optimism"-desire for the very things that undermine happiness and well-being-because they rely on a willful disregard of the inevitable interdependency that is a fact of all human existence, as well as the particular forms of dependency that pertain to many disabled bodies. The end of the article considers works of visual art that challenge dominant modes for representing how care is given and received. If the invisibility of caregiving is one aspect of our willful forgetting that all bodies are dependent, I'll argue that visual images of care are an essential resource for recognizing and reimagining its status in our society. One desired outcome of such reconsideration would be to complicate the meaning of autonomy-as it relates to choosing disability-as well as how the work of caregiving is acknowledged and valued.

“I was a weird example of Art”: My Amputations as Cubist Confession

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Martha Ann Honeywell: Art, Performance, and Disability in the Early Republic

Martha Ann Honeywell (1786-1856) was a visual artist and performer who traveled across North America and Europe to exhibit her embroidery, waxwork, miniature writing, and paper cutting as well as her atypically-figured body, which lacked arms and hands and had just one foot with three toes. Drawing on over two hundred newspaper advertisements that she published, over one hundred samples of her visual artwork, nearly thirty visitor responses, and one surviving letter, this essay examines Honeywell’s story and the strategies that she used to appeal to consumers and cultivate her business. It argues that she capitalized on new cultural and commercial opportunities in the early republic as well as long-held conceptions of disability in productive ways. Honeywell was a relentless traveler, seeking new markets internationally and in the American West. She also catered to her patrons’ desires for miniatures and silhouettes, which held popular appeal, and utilized advancements in print culture to generate publicity. At the same time, Honeywell’s techniques for attracting clientele were informed by ideas about disability, and congenital physical anomalies in particular, with deep roots in western culture. To accommodate her spectators’ curiosities about her body, she juxtaposed her artistic capacities and physical incapacities in ways that elicited shock and amazement. In addition, to ease visitors’ fears about disability and anxieties about viewing her impairments, she presented familiar and socially acceptable traits that aligned with their expectations of the body, gender, and class. In the end, Honeywell’s mastery of these dual strategies of the spectacular and the conventional—along with the possibilities that the early national marketplace presented—produced what may seem like an unexpected outcome. Rather than condemning, fearing, or deriding her uniqueness, customers proclaimed her to be uniquely American, an exemplary woman and citizen.

“Man in the Anthropocene”: Max Frisch's Environmental History

The aesthetic practices in Max Frisch's late storyDer Mensch erscheint im Holozän(Man in the Holocene[1979]) lend themselves to a reflection on the current global environmental crisis and its anthropological and epistemological repercussions. Frisch's visual and narrative artwork anticipates central issues in the current Anthropocene debate, in which the humanities have made incisive interventions. I bring these interventions to bear on close readings of Frisch's intermedia aesthetics, unearthing an environmental reflexivity that revolves around issues of time and history, place and identity, nature and human knowledge, metamorphosis and anthropogenic transformation. I thus invite us to reconsider in the light of the anthropological and sociopolitical imaginaries of the Anthropocene some ways in which the literature of the past half century has negotiated the relation between human beings and their natural environments.

Ekphrasis: Poetry That Deciphers Art

The word “ekphrasis” (also called “ecphrasis”) comes from the Greek words ek, “out of” and phrazien, “to declare” or “to express.” Ekphrasis is a rhetorical device in which two medium of art establish a relationship, where one art form tries to interpret, define and describe the essence of another art form so as to provide a deeper meaning to it. More specifically, it is a rhetorical term used for a passage that describes something either in prose or in poetry. The aim is to make the reader conceive the thing described as if it was right in front of them. Ekphrasis description thus becomes the illustration of both creative imagination and competence of the writer. Over the time, the interpretation of ekphrasis has transformed from a mere detailed description of any object as can be seen in Homer's description of Achilles’ shield in The Iliad to elaborate depiction of works of visual art like William Carlos Williams’ poem, Landscape with theFall of Icarus, which is based on Pieter Bruegel Elder's painting with the same title. The articleis an attempt to provide a better understanding of the concept of ekphrasis poetry to the readers. The article also incorporates various popular examples of ekphrasis poetry.

A Journey to Armenia: Visual Reminders of Genocide and Oppression

A Journey to Armenia: Visual Reminders of Genocide and Oppression

From Visible Object to Reported Action: The Performance of Verbal Images in Visual Art Museums

Tracing the possibilities that verbal images offer within contexts historically premised on visual encounters, this essay argues for reported action—a rhetorical device wherein events are disclosed through speech rather than enacted in front of an audience—as an innovative curatorial strategy emerging through performances presented in, and devised specifically for, museum settings. Grounded in particular examples of practice, by Tim Etchells, Boris Charmatz, Alexandra Pirici and Manuel Pelmuş, and Bedwyr Williams, staged recently at art museums in London, this study engages in detail with those events in order to chart a contemporary response to the established frameworks that govern museum sites and place certain limitations on performance. Spoken description enables the display of complex and elaborate arrangements of objects, images, scenes, and characters. The essay assesses how verbal images contribute to the creation of performance in contemporary art museums, and suggests that the classic theatrical technique of reported action takes to a certain extremity the heightened emphasis on visual perception still predominant in such institutions. Moving the discussion beyond concerns with the exhibition of live bodies, reenactments, and archival documents, the essay situates current debates about the place of performance in dialogue with a much longer history of distinctly theatrical practice. Repurposed in the situation of the museum and alongside curated collections of visual artworks, reported action is reimagined here as an experimental display practice, both sustaining and intervening in long-standing presentational traditions while offering a creative extension of what it is possible for museums to contain.

Brain networks for visual creativity: a functional connectivity study of planning a visual artwork.

Throughout recorded history, and across cultures, humans have made visual art. In recent years, the neural bases of creativity, including artistic creativity, have become a topic of interest. In this study we investigated the neural bases of the visual creative process with both professional artists and a group of control participants. We tested the idea that creativity (planning an artwork) would influence the functional connectivity between regions involved in the default mode network (DMN), implicated in divergent thinking and generating novel ideas, and the executive control network (EN), implicated in evaluating and selecting ideas. We measured functional connectivity with functional Magnetic Resonance Imaging (fMRI) during three different conditions: rest, visual imagery of the alphabet and planning an artwork to be executed immediately after the scanning session. Consistent with our hypothesis, we found stronger connectivity between areas of the DMN and EN during the creative task, and this difference was enhanced in professional artists. These findings suggest that creativity involves an expert balance of two brain networks typically viewed as being in opposition.

Investigating Expressive Tactile Interaction Design in Artistic Graphical Representations

In this article, a design research approach is taken to investigate expressive design of tactile interactions. Most research efforts to date on designing and exploring the representational aspects of tactile interfaces have focused on usability and task-oriented scenarios. Yet, there is limited knowledge on how to aid the design of tactile interfaces that support the design of expressive or user-experience-oriented tactile interactions. We address this gap by studying tactile designs in a multisensory context, where the tactile interface augments works of visual art. The expressive and artistic context introduces new opportunities to extend on previous work, and identify new design and interaction potentials with tactile interfaces in graphical multisensory scenarios. During one-on-one guided design sessions, visual artists were asked to create tactile design prototypes that augmented one of their existing works. Each element of the overall tactile design, regarded as atactile feature, was analyzed using both the bottom-up and top-down approaches. The results discovered through grounded theory are presented and discussed with respect to semiotic theory. Accordingly,tactile constructsandtactile intentsdefine the “form” and “meaning” components of each tactile feature, respectively. Overall analysis of the findings indicates associations among the identified categories and between the two components, leading to design implications for expressive tactile interfaces. Insights from thetactile intentssuggest a set of affordances for expressive visuotactile interactions, which we introduce under the notion ofexpressive roles. Additionally, implications from thetactile constructsindicate a design space for an expressive tactile augmentation design tool, based on which a user interface architecture is proposed. Findings from this research can assist in developing systems and tools for expressive tactile interface design and inspire research in user experience and behavior in multisensory tactile interaction scenarios.

Propuesta de Citación de Obras de Arte Visual

La revista BRAC hace una petición de colaboración en una tarea común que ha de impulsar la creación de una propuesta de citación de obras de arte visual para las listas de referencias bibliográficas.

The (Pictorial) Construction of Collective Identities in the Third Reich

Collective identities of the Self vs. the Other are not only conveyed in and between cultures through verbal discourse, but also through pictures. Cultural encounters are often comprehended by storytelling, the verbal expression of which has been abundantly studied. Pictorial manifestations of narration, however, have received comparatively less attention. Mostly, narration has been associated with verbal discourses, where, briefly put, events or situations are temporally ordered. Even though the narrative capacity of pictures has been taken for granted by e.g. art historians, attempts to elucidate the semiotic and cognitive basis of visual narrativity, esp. in static pictures, have been relatively rare (cf. Ranta, 2013).Within cognitive science, narratives are regarded as crucial and fundamental cognitive instruments or tools (e. g. Bruner, 1990; Schank, 1995). As Roger Schank suggests, the identity of (sub-) cultures is to a considerable extent based upon the sharing of narrative structures. According to Schank, culturally shared stories—or stories in general—occur frequently in highly abbreviated form, as “skeleton stories” or “gists”, not least in pictorial form. Moreover, in ways that correspond to Schank’s account of storytelling and cognition, these may also have implications for conceptions of one’s home-culture in relation to an alien-culture. Many pictures and visual artworks have indeed been produced in order to consolidate, modify, and demarcate certain cultural stances.In this paper, I shall focus upon one (and even today highly relevant) example of creating cultural identity, namely the racist confrontation of the “Aryans” vs. the Other (esp. Jews, but also Slavs and Romani) as promoted by National Socialist thinking and politics during the Third Reich in German history. Some concrete pictorial examples indicating these attempts will be discussed and analysed from a narratological and cognitive semiotic perspective.

Thinking inside the box: Brian Eno, music, movement and light

ABSTRACT‘In total darkness, or in a very large room, very quietly’ [Eno, Brian, and Peter Schmidt. (1979). Oblique Strategies. The Authors.]This article considers how Eno has used simple but innovative ideas, programmes and processes to inform his films, apps and installation work. Avoiding spectacle, noise and complexity, Eno and his collaborators have produced an array of intriguing and engaging visual art works. In T. The New York Times Style Magazine, Eno stated that he ‘was trying to make visual art become more like music, in that it changed the way music changes’ [Eno, Brian. (2013). ‘The Record Producer, Sound Conceptualist Futurist and Artist Extraordinaire on the Academy Couch.’ New York: Red Bull Music Academy. Accessed April 14, 2014]. Kingsley Marshall and Rupert Loydell use remix, juxtaposition and creative writing, along with more traditional research methods, to cast light onto the ways in which appropriation, process and collaboration have informed Eno’s creative output. They use Eno’s own words, along with critiques of his work, and writing by those who have inspired him, to consider how Eno creates his quiet rooms and visual music. Each consecutive response here was dictated by the turn of an Oblique Strategies card.

The rise of creative youth development

ABSTRACTCreative youth development (CYD) is a dynamic area of community arts education that successfully bridges youth development and arts education. CYD is an intentional, holistic practice that combines hands-on artmaking and skill building in the arts with development of life skills to support young people in successfully participating in adolescence and navigating into adulthood. Young people in CYD programs exhibit high levels of artistic skill and accomplishment along with increased self-esteem and sense of belonging. CYD participants are immersed in a broad array of rigorous artistic endeavors, including creating documentary films, researching and reporting on community issues through radio broadcasts, writing and staging new theatrical works, and engaging in thoughtful critique of one another's visual art work. The impact for youth of program participation extends beyond pride in artistic accomplishment. Throughout the United States, teen participants in CYD programs assert that the programs saved their lives, putting them on positive trajectories and away from gangs, drug use, crime, and ennui. This article provides a definition for the term creative youth development, describes core characteristics of CYD programs, and briefly describes four CYD programs. It provides background on the origins and history of creative youth development, including current advances in the field and signs the field is coalescing. The article describes creative youth development in the larger contexts of arts education and of education reform. Lastly, the article discusses policy, funding, and research needs and opportunities and provides questions for consideration.

Multiplisitas Wajah Rahim: Karya Seni sebagai Narasi Feminis (Refleksi atas Pameran Tunggal Dewi Candraningrum “Dokumen Rahim”)

The term ‘womb’ is an organ in the lower abdomen of female body, which is particularly associated with pregnancy. Metaphorically, womb is perceived as the origination of things that are brought to life with the pour of an intense feeling of affection. The womb is an act of creation, a document of maternal procreation. This article is a refl ective reading of ‘Womb Document’, a solo painting exhibition by a feminist female artist, Dewi Candraningrum. She tries to move away from what is considered aspure, selfreferential and apolitical art. Artwork is a feminist narration. Clusters of her mostly female portraiture paintings and sketches represent multiple faces of womb, which have been resided in the margins of hegemonic discourse. She uses aesthetic conventions in her visual artworks, which are different from those applied in the canon. Dewi has considered visual artworks as part of political arts, which should take a side and emancipate the considered Others.

Sharing Common Tangible Heritages Malaysian Design Towards Visual Artwork

Sharing Common Tangible Heritages Malaysian Design Towards Visual Artwork

Technology via Installation of Visual Artwork

Technology via Installation of Visual Artwork

Using visual art and collaborative reflection to explore medical attitudes toward vulnerable persons

Vulnerable persons often face stigma-related barriers while seeking health care. Innovative education and professional development methods are needed to help change this. We describe an interdisciplinary group workshop designed around a discomfiting oil portrait, intended to trigger provocative conversations among health care students and practitioners, and we present our mixed methods analysis of participant reflections. After the workshop, participants were significantly more likely to endorse the statements that the observation and interpretive skills involved in viewing visual art are relevant to patient care and that visual art should be used in medical education to improve students' observational skills, narrative skills, and empathy with their patients. Subsequent to the workshop, significantly more participants agreed that art interpretation should be required curriculum for health care students. Qualitative comments from two groups from two different education and professional contexts were examined for themes; conversations focused on issues of power, body image/self-esteem, and lessons for clinical practice. We argue that difficult conversations about affective responses to vulnerable persons are possible in a collaborative context using well-chosen works of visual art that can stand in for a patient.