Academic literature on the topic 'Artistic assemblages'
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Journal articles on the topic "Artistic assemblages"
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Chaberski, Mateusz. "Thomas Shadwell’s the Virtuoso as an Assemblage Laboratory. A View from Installation Art." Art History & Criticism 13, no. 1 (December 1, 2017): 111–22. http://dx.doi.org/10.1515/mik-2017-0008.
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Summary The contemporary landscape of performing arts becomes more and more populated by hybrid genres or “artistic installations” (Rebentisch) which fuse traditional artistic, theatrical and performance practices with scientific procedures, political activism and designing new technologies (e.g. bioart, technoart, digital art and site-specific performance). In this context, theatre texts can no longer be perceived as autopoietic means of solely artistic expression but become part of an assemblage of different discourses and practices. As contemporary assemblage theory contends (DeLanda), assemblages are relational entities which change dramatically depending on relations between its different human and nonhuman elements and various contexts in which they function. Taking the contemporary installation art as a vantage point, this paper aims to analyse a Restoration comedy The Virtuoso (1676) by Thomas Shadwell in an assemblage of theatrical, scientific and political discourses and practices of Early Modern England. Staged in Dorset Gardens theatre in London, the play mobilised a plethora of discourses of science (the status of experimental philosophy institutionalized in 1660 as the Royal Society), politics (Restoration of the monarchy under Charles II) and gender (the infamous heac vir or effeminate man). Drawing on contemporary new materialism, the paper focuses predominantly on Shadwell’s use of the laboratory as a site of emerging assemblages rather than objective matters of fact. In this context, the play itself becomes an assemblage laboratory where new ways of thinking and being are being forged and constantly negotiated.
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Constantino, Valerie. "Instinct Extinct: The Great Pacific Flyway." Leonardo 52, no. 1 (February 2019): 5–11. http://dx.doi.org/10.1162/leon_a_01599.
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This article, or artist’s inquiry, was written in concert with the exhibition Instinct Extinct: The Great Pacific Flyway. Beginning with introductions to bird migration, the concept of global flyways and the history of conservation, the text considers the poetics of art-making relative to academic research. Areas of artistic exploration include a map depicting California’s changing waterscape, video portraits of people of the flyway and assemblages of invented and found avian artifacts. The article concludes with a review of current environmental conditions affecting migratory birds and some reflective passages.
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Rubin, Joshua D. "Assembling emergence: making art and selling gas in Bulawayo." Africa 89, no. 3 (July 16, 2019): 479–98. http://dx.doi.org/10.1017/s0001972019000482.
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AbstractThis article is an ethnographic investigation of the labours of making art and selling liquid petroleum gas (LPG) in Bulawayo, Zimbabwe. It locates these activities within a shared social world, centred on one of Bulawayo's major art galleries, and it demonstrates that artists and LPG dealers use similar strategies to respond to the political conditions of life in the city. This article frames these conditions as unpredictable, insofar as they change frequently and crystallize in unexpected forms, and it argues that both groups are attempting to act within these conditions and shape them into emergent assemblages. In adopting this term ‘assemblage’, which has been elaborated theoretically by Gilles Deleuze, Félix Guattari and their many interlocutors, this article emphasizes both the mutability and the unpredictability of these formations. The artists who work in the gallery, for their part, make their art by assembling their chosen media. The processes by which they choose their media constitute assemblages as well, in that artists have to adapt their artistic visions to the materials that Zimbabwe's market can provide. Street dealers in gas also produce emergent assemblages against the backdrop of unpredictability. If they want to make natural gas available to consumers, dealers must shepherd their medium through an always emergent process of distribution. They participate in transnational networks of trade, but they also theorize innovative strategies of procurement, develop circuits of trust and loyalty, and conjure up visions of a predatory state. Like artists, they use their work to construct dynamic representations of the world around them. Artists may produce images, and dealers circulate gas, but this article shows that conceptualizing these practices in terms of ‘assemblages’ calls their commonalities into view. In doing so, it also demonstrates that these practices complicate easy distinctions between aesthetics, economics and politics.
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Amiryan, T. N. "The Peculiarity of the Visual Autofiction of Sergei Parajanov." Critique and Semiotics 37, no. 2 (2019): 47–63. http://dx.doi.org/10.25205/2307-1737-2019-2-47-63.
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In this article, a number of works by Sergei Parajanov are considered within the context of such type of writing and movement in fiction and arts as autofiction. The objective of this article is to identify various types of autofictionality, common in both Parajanov's feature films (“Shadows of Forgotten Ancestors”, “The Color of Pomegranates”, “Kyiv Frescoes”), and his performative projects, collages, assemblages, scenarios (“The Confession”), the epistolary text corpus, etc. The analysis of Parajanov’s artistic heritage through the prism of visual autofiction contributes to a more precise definition of the place and significance of the filmmaker’s works in the world artistic culture of the second half of the 20th century.
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Hemment, Drew. "Reordering the Assemblages of the Digital through Art and Open Prototyping." Leonardo 53, no. 5 (October 2020): 529–36. http://dx.doi.org/10.1162/leon_a_01861.
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Open prototyping is presented as a conceptual and methodological framework for artistic practice and public participation that bridges the space between technology and society and contributes to city and technology innovation. Such practices can make ideas about the future tangible and realize different configurations of infrastructures, data, situations and people. Many works here are boundary objects, taking place in grey zones between disciplines and sectors. The article may thus deepen understanding at the fault lines between art and innovation and ways in which art can shape the direction of technology development.
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Auson, Kuai Shen. "Tactical Ant Media: Amplifying the Invertebrate Aesthetics of Ants Using Transversality as an Artistic Process." Society & Animals 27, no. 7 (December 11, 2019): 678–96. http://dx.doi.org/10.1163/15685306-00001842.
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AbstractThis article examines creative practice-led research that uses transversality as an artistic process to generate ant-human relations. From the artistic perspective, transversality can materialize audiovisual performances with ants by employing technologies of visual and acoustic amplification; these are electronic assemblages made with piezoelectric sensors, computer vision, and infrared thermography, which reveal imperceptible qualities of ant behaviors. Whereas the concept of transversality remains active in philosophical discourses concerning human subjectivity, it has not been explored in artistic technological mediations that seek relational ties with nonhuman beings. The analysis that follows argues that ants are transversal beings whose movements cross boundaries affecting organisms and materializing ecological and multispecies relations. These relations can be amplified using electronic media in order to reveal the invertebrate aesthetics of ants as a different way to understand their social lives, and as an alternative passage for representing their sensorial capacities.
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Koenderink, Jan, and Andrea van Doorn. "Assemblage and Icon in Perception and Art." Art & Perception 1, no. 1-2 (2013): 5–18. http://dx.doi.org/10.1163/22134913-00002007.
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In The Problem of Form (1893), the German sculptor Adolf Hildebrand distinguishes categorically between perception obtained from multiple fixations or vantage points (G.: Bewegungsvorstellungen; we call these ‘assemblages’), and from purely ‘iconic’ imagery (G.: Fernbilder). Only the latter he considers properly ‘artistic’. Hildebrand finds the reason for this ontological distinction in the microgenesis of visual awareness. What to make of this? We analyze the various ‘modes of seeing’ in some detail. The conceptual issues involved are fundamental, and relevant to both vision science and the visual arts.
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Klein, Michael. "Debussy's L'Isle joyeuse as Territorial Assemblage." 19th-Century Music 31, no. 1 (2007): 028–52. http://dx.doi.org/10.1525/ncm.2007.31.1.028.
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This article develops what Deleuze and Guattari call an assemblage around Debussy's L'Isle joyeuse in order to account for its signifying power in terms of territory, time, and desire. An assemblage is a multiplicity that territorializes natural, cultural, biological, and artistic phenomena in search of objectives that are fueled by desire. In this article, the assemblage around L'Isle joyeuse begins with a study of the interpretive aporias concerning time and place in Watteau's Le Pelerinage a l'Isle Cithere, a putative inspiration for Debussy's piano piece. After a discussion of the parallels between Watteau's Cythera paintings and Debussy's L'Isle joyeuse, the article turns to the problem of apotheosis in the latter work, using Chopin's Barcarolle as an intertext. The article turns next to Debussy's compatriot, Bergson, whose early philosophical writing conceives of time as duration, freed from spatial metaphors. From the Bergsonian perspective, we can hear Debussy's piano piece as a musical correlate to a conception of time far from the linearity of space. The article concludes with a discussion of Deleuze and Guattari's A Thousand Plateaus with particular emphasis on their ideas about chaos and ecstasy, illustrating how the desire and fulfillment in L'Isle joyeuse renew themselves as they participate in assemblages.
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Tomenchuk, John, and Peter L. Storck. "Two Newly Recognized Paleoindian Tool Types: Single- and Double-Scribe Compass Gravers and Coring Gravers." American Antiquity 62, no. 3 (July 1997): 508–22. http://dx.doi.org/10.2307/282168.
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A small collection of gravers from the Fisher site, an Early Paleoindian (Parkhill complex) site in Ontario estimated to date between 10,400 and 11,000 years B.P., produced two previously unrecognized tool types: single- and double-scribe compass and coring gravers. Experimental use-wear studies on replicated tools confirm that the compass and coring gravers were probably used on organic materials for engraving single or concentric circles, cutting thin disks, and boring holes. Although not identified as such, the compass graver occurs widely in North American Paleoindian assemblages and, judging from the presence and context of similar tools in the Eurasian Upper Paleolithic and Siberian Neolithic, may represent a specialized tool designed to express decorative, artistic, or symbolic aspects of Paleoindian culture. Together with other tools in Paleoindian assemblages, the new tool types promise to contribute to comparative studies concerned with the origin, development, and spread of Paleoindian cultures.
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Zagorska, Ilga, Lembi Lõugas, Harald Lübke, John Meadows, Paul Pettitt, Aija Macāne, and Valdis Bērziņš. "East meets west in the 6th millennium: Mesolithic osseous tools and art from Sise on the Latvian seaboard." Praehistorische Zeitschrift 96, no. 1 (June 1, 2021): 1–18. http://dx.doi.org/10.1515/pz-2021-0003.
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Abstract A collection of 141 bone and antler tools and debitage pieces recovered from the River Užava at the village of Sise constitutes the largest Mesolithic osseous assemblage in western Latvia. Radiocarbon dating of 12 pieces suggests that most of this collection dates from the 6th millennium calBC. We present a general analysis, highlighting typical and unique tool forms, ornamented and sculpted pieces, and assess the corpus in a wider geographical context. Predominant in this rich and diverse collection are heavy duty antler tools: various forms of adzes, axes and hammers as well as sleeves, made either from shed antler or antler of hunted animals. They include two pieces classifiable as T-axes. Spear- and arrowheads as well as daggers are also present, along with chisels, wedges, awls and other tools. Artistic representations include five sculpted and engraved objects. The heavy duty red deer antler tools have parallels in the region south of the Baltic Sea, whereas the bone projectile forms are familiar from Kunda and Narva Culture sites of the East Baltic; the closest similarity is with osseous assemblages from coastal western Lithuania.
Dissertations / Theses on the topic "Artistic assemblages"
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CAVALCANTI, Raíza Ribeiro. "Agenciamentos artísticos: uma análise sociológica sobre a ação dos trabalhos artísticos no interior do campo da arte brasileiro." Universidade Federal de Pernambuco, 2016. https://repositorio.ufpe.br/handle/123456789/18656.
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Esta tese é uma proposta de estudo sociológico dos trabalhos artísticos, situando-os no centro da análise. A partir do conceito de agenciamentos artísticos, se investigará a ação que os trabalhos realizam no interior do campo da arte. Em termos metodológicos, se observará como os trabalhos operam práticas artístico-discursivas em sua presença no campo da arte. A ideia de que a crítica realizada pelos trabalhos artísticos pode ser completamente neutralizada ou mercantilizada por instâncias como os museus ou o mercado da arte será posta em questão a partir da observação de como estes seguem atuando discursivamente no interior do campo. Para tal propósito foram escolhidos oito artistas cuja produção é reconhecidamente crítica no campo da arte. O objetivo será o de observar a ação dos trabalhos por eles produzidos quando participam das instituições legitimadoras do campo (bienais, feiras de arte, exposições). Os artistas escolhidos são Carla Zaccagnini, Lourival Cuquinha, Marcelo Cidade, Yuri Firmeza, Artur Barrio, Paulo Bruscky, Antonio Manuel e Cildo Meireles. O teor estético e discursivo dos trabalhos desses artistas - que inserem sentidos que geram conflitos ou ruídos no interior do campo da arte e do campo social mais amplo -, são apaziguados quando entram em contato com o circuito institucional ou mercadológico da arte? A análise dos agenciamentos artísticos dos trabalhos destes oito artistas tentará responder a essa questão. O conceito de agenciamento artístico utilizado neste estudo está baseado na teoria da democracia agonística de Chantal Mouffe, mais especificamente em sua formulação sobre as práticas artísticas agonistas no interior da esfera pública. O conceito de campo da arte de Pierre Bourdieu também será usado para auxiliar a teorização do ambiente estrutural, simbólico, institucional e discursivo onde esses trabalhos se constituem e no qual realizam sua performance artístico-discursiva.
This thesis is a proposal for a sociological study of the artwork, placing them at the center of the analysis. From the concept of agenciamentos artísticos, the investigation will analyze the action that the artwork performs within the field of art. In methodological therms, it will be observerd how the art works operate artistic-discoursive practices when they appear as part of the art field. The idea that the criticism made by the artwork can be completely neutralized or commodified by institutions such as the museums or the art market will be called into question by the observation of how the artwork continues to act discursively within the field. For this purpose there were chosen eight artists whose production is known to be critical in the field of art. The goal will be to observe the action of the artworks when these participate in the legitimating institutions of the art field (biennials, art fairs, exhibitions). The artists chosen are Carla Zaccagnini, Lourival Cuquinha, Marcelo City, Yuri Firmeza, Artur Barrio, Paulo Bruscky, Antonio Manuel and Cildo Meireles. Are the aesthetic and discursive contents of the work of these artists - which generate conflicts or noise from inside of the art field and wider social field -, appeased when they get in contact with institutional or marketing art circuit? The analysis of the agenciamentos artísticos of the work of these eight artists will try to answer this question. The concept of artistic agency used in this study is based on agonistic democracy theory of Chantal Mouffe, more specifically in its formulation of the agonists artistic practices within the public sphere. Bourdieu's art field concept will also be used to support the theorization of the structural, symbolic, institutional and discursive enviroments where these works are constituted and in which they carry out their artistic and discursive performance.
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Newby, Lisa. "Assemblage in practice : artists, ethnography and display in postwar London (1948-85)." Thesis, University of East Anglia, 2017. https://ueaeprints.uea.ac.uk/67063/.
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This thesis examines the relevance of assemblage for the ways artists engaged with ethnographic objects in postwar London and questions the usefulness of assemblage as a model for cultural analysis in art history. Art historians now recognise that in the postwar period assemblage was interpreted by artists not simply as a formal category but as an act of engagement with their environment. This scholarship has renewed analogies between art practice and anthropology which this thesis explores in an expanded context. It focuses on the changing status of ethnographic objects in experimental exhibition projects in London and the interdisciplinary debates that they generated. I show that multiple, conflicting narratives of the object were entangled with new ideas about how gallery spaces could or should be used to engage with changing definitions of culture in postwar society. Crucially, this thesis reinstates the different definitions of art and cultural identity being negotiated in London in the postwar period. The first three chapters introduce the different ways that juxtapositions of ethnographic objects and modern art were interpreted by artists and anthropologists at the Institute of Contemporary Arts in London between 1948 and 1968. The final two chapters engage with the new questions that were raised about the relationship between art and society in the 1970s and the impact this had on approaches to exhibition--‐making and assemblage at the ICA and the British Museum. These interdisciplinary strands of debate are brought together to reconsider Eduardo Paolozzi’s exhibition at the Museum of Mankind in 1985 and the different ways that his assemblage--‐based practice was interpreted. I use these contexts to address two main research questions: What was the impact of assemblage on the ways that artists engaged with ethnographic objects in postwar London? And, how useful is assemblage as a methodological approach in art history?
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Charrieras, Damien. "Trajectoires, circulation, assemblages : des modes hétérogènes de la constitution de la pratique en arts numériques à Montréal." Thèse, Paris 3, 2010. http://hdl.handle.net/1866/4293.
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Cette thèse se penche sur les parcours et les pratiques d'artistes numériques naviguant au sein des secteurs multimédias de Montréal. L'étude des parcours de onze artistes numériques montréalais nous a permis de constater que leurs pratiques de production en arts numériques ne sont pas réductibles aux logiques de production propres à un seul lieu, que ce soit une entreprise privée, un centre d'art numérique ou encore l'université.
La question du maintien de ces pratiques amène à prêter attention aux pluralités des éléments qui informent leurs (re)constitutions perpétuelles, ce qui appelle de nouveaux modes de théorisation des parcours d'artistes numériques et de leurs pratiques. Nous proposons une nouvelle manière de penser ces parcours - en tant que trajectoires - pour mettre en valeur la pluralité des modes d'articulation de ces pratiques. Elles sont ainsi considérées du point de vue de leurs médiations coconstitutives avec différents éléments. Nous avons isolé trois ensembles d'éléments pour rendre compte du maintien des pratiques en arts numériques et au travers desquels ces dernières déploient leurs multiples effectivités. Le premier ensemble recouvre les technologies intervenant dans la pratique en arts numériques. Le deuxième ensemble a trait au milieu des arts numériques et aux modes de l'organisé afférents. Enfin, le troisième ensemble traite du rapport entre les mondes de l'entreprise et la pratique en arts numériques. Ces trois ensembles d'éléments participent de diverses manières à la constitution, au maintien et à la singularisation de pratiques en arts numériques qui déploient leurs effectivités largement au-delà d'un espace social circonscrit ou spécialisé.This thesis examines the paths and practices of digital artists navigating within the multimedia sectors of Montreal. Through the study of the paths of eleven digital artists based in Montreal we found that production practices in digital arts cannot be reduced to the logic of production specific to a single place, whether a private company, a digital arts center or a university. The issue of maintaining these practices leads one to pay attention to the plurality of elements that inform their perpetual (re)constitutions. This requires new ways of theorizing digital artists' paths and practices. We propose a new way of conceptualizing these paths - as trajectories - to highlight the plurality of ways the digital art practices are articulated. They are thus considered in terms of their co-constitutive mediations with different elements. We have identified three sets of elements to account for the maintenance of the practices in digital arts and through which these unfold their multiple effectivities. The first set covers the technologies involved in digital art practices. The second set relates to the digital arts community and the organizational modes characteristic of those locales. Finally, the third set deals with the relationship between the worlds of business and practices in digital arts. These three sets of elements contribute in various ways to the establishment, maintenance and singularity of digital arts practices that deploy their effectivities far beyond a circumscribed or specialized social space.
Réalisée en cotutelle avec l'université Sorbonne Nouvelle - Paris 3
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Siyotula, Yolokazi. "Practising de-assemblage : upcoming black artists on the South African scene 2008-2014." Diss., University of Pretoria, 2015. http://hdl.handle.net/2263/53464.
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Reading Bhantu Steven Biko s I write what I like (1978) for the first time as an undergraduate student was challenging. I write what I like, a selection of Biko s writings published between the years 1969 and 1973, contains, amongst others, the articles Black Souls in White Skins? (1970a), We Blacks (1970b), Fragmentation of the Black Resistance (1971a), The Definition of Black Consciousness (1971b) and Black Consciousness and the Quest for True Humanity (1973). Such articles express the core of Biko s call for black consciousness. Biko wrote on Blackness post-1960, in the period marked by the banning of black political parties and the imprisonment of their leaders on Robben Island. This was a time, according to Biko (1971a:63), when no one could speak for black opinion in South Africa. Biko saw the imprisoned political leaders as having managed to assemble the black population of South Africa as a unit. His call was a call to those discriminated against and oppressed by the apartheid system to maintain this assemblage (Biko 1970a, 1970b, 1971a, 1971b, 1973) and resist all attempts at fragmenting their resistance, namely: fighting separately for certain freedoms and gains (Biko 1971a:42). What was certain to me in my first reading of Biko, as it still is in a re-reading of his work, is that South Africa is a geographical space Biko and I share, but that the dynamics of the times at which we inhabit(ed) it seem different. Biko speaks to a world of unions: African Student Association (ASA); African Students Union of South Africa (ASUSA); African National congress (ANC); Pan African Congress (PAC); University Christian Movement (UCM); National Union of South African Students (NUSAS); University of Natal Black (UNB); South African Student Organisation (SASO) and University Bantu Council (UBO) . The impact of some of these unions have spanned decades; others have disintegrated. as a social phenomenon.
· To determine caregivers views on contributing factors of malnutrition among children who are benefiting from the Child Support Grant.
· To explore the challenges experienced by caregivers who receive the Child Support Grant.
· To make recommendations for combating malnutrition among children under the age of five who are beneficiaries of the Child Support Grant.
Ten caregivers whose children were diagnosed with malnutrition while benefiting from the Child Support Grant and were given treatment at Chris Hani Baragwanath Academic hospital in 2015, were purposively selected to form the sample of the study. Semi-structured interviews were conducted to collect data from the participants.
The main conclusions drawn from the research findings were that caregivers experienced economic challenges mainly due to unemployment and lack of reliable sources of income. These identified challenges were the main contributing factors of malnutrition among children who are under the age of five benefiting from the Child Support Grant.
The study was also concluded with some useful and relevant recommendations from the caregivers responses on how to mitigate malnutrition among children who are under the age of five benefiting from the Child Support Grant. One of the crucial recommendations drawn from the findings of this research study was that more information sessions to caregivers regarding malnutrition should be conducted regularly at the Chris Hani Baragwanath Academic hospital.Mini Dissertation (MA)--University of Pretoria, 2015.
Modern European Languages
MA
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Serinet, Bruno. "La part du désastre : la pratique de l'assemblage comme rituel de résistance." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H301.
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Cette thèse interroge une expérience individuelle de pratiques artistiques effectuées dans le contexte géographique de l'île de la Martinique. Pour celui qui le vit, l'exil offre la possibilité d'adopter des points de vue distanciés tout en conservant l'implication dans les problématiques les plus actuelles et les plus universelles. Ce travail questionne les relations entre la création artistique et ce qui semble la nier, à savoir tous les phénomènes désastreux. En art, la mise en œuvre peut être comprise comme le montage d'un assemblage. L'artiste relie des fragments entre eux pour composer des objets qui ne constituent ni une unité ni un enchevêtrement hasardeux, mais plutôt des structures ouvertes et instables cultivant l'indétermination. Adoptant cette conception que l'art et la vie sont indissociables, l'approche développée dans ce texte explore les liens entre l'idée d'assemblage d'éléments disparates et les questions soulevées par les relations entre l'individu et les contextes ou encore entre les singularités et les communautés. Le désir de créer persiste malgré la perspective incontournable du désastre. Envisagée sous cet angle, la pratique artistique peut se concevoir comme un rituel de résistanceThis thesis examines a personal experience of artistic practices realised in the geographical context of the island of Martinique. For the one who lives it, the exile offers the possibility of adopting viewpoints distanced while retaining involvement in the most current and most universal problems. This work questions the relationship between artistic creation and what seems to deny it, namely all the disastrous phenomena. In art, the implementation can be understood as the setting of an assembly. The artist connects fragments together to compose objects that are neither a unit nor a hazardous entanglement, but rather an open and unstable structure cultivating indeterminacy. Adopting this conception that art and life are inseparable, this work explores the links between the idea of assembly of disparate elements and issues raised by the relationship between the individual and the contexts or between singularities and communities. The desire to create persists despite the unavoidable prospect of disaster. Seen from this angle, the artistic practice can be understood as a resistance ritual
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Tatum, Simon J. "Repurposing Tourism: Visions from an Itinerant Artist." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1619483698972973.
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Booth, Gillian. "Art making and thesis writing : an assemblage of becomings." 2005. http://hdl.handle.net/1828/707.
Full textBooks on the topic "Artistic assemblages"
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(Norway), Museet for samtidskunst, ed. Light as fuck!: Shanghai assemblage 2000-2004. Oslo: National Museum of Art, Norway, 2004.
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Saint-Phalle, Niki de. Niki de Saint Phalle: Des assemblages aux œuvres monumentales. Angers: Musées des beaux-arts, 2004.
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Angers (France). Musée des beaux-arts., ed. Niki de Saint Phalle: Des assemblages aux oeuvres monumentales. Angers: Musées des beaux-arts, 2004.
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Ughetto, Henri. Henri Ughetto: Entretiens avec Guillaume Treppoz. Lyon: Fage, 2005.
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Lamarche-Vadel, Bernard. Villeglé: La présentation en jugement. Paris: Marval, 1990.
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Violand-Hobi, Heidi E. Daniel Spoerri: Biographie und Werk. München: Prestel, 1998.
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DeWitt, Martin. Lewis Buck: Beyond the surface : life works in painting and assemblage. Cullowhee, N.C.]: Fine Art Museum at the Fine & Performing Arts Center, Western Carolina University, 2008.
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Richardson, John. Alice: The looking glass threw. Rhos-on-Sea, Colwyn Bay: Dark Windows Press, 2014.
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De Pury & Luxembourg. and Marianne Boesky Gallery, eds. Unwatchable. Zürich: de Pury & Luxembourg, 2006.
Find full textBook chapters on the topic "Artistic assemblages"
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Otterstad, Ann-Merete, and Ann-Hege Lorvik Waterhouse. "Touchicizing Posthuman Digital-Artistic-Assemblages of Child/ren/hood(s) Exposuring(s) in the Making …" In Studies in Arts-Based Educational Research, 103–22. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61560-8_6.
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Schmidtke, Niamh. "Addressing Problems of Our Capitalist Economies through Artistic Production." In Machinic Assemblages of Desire, 395–402. Universitaire Pers Leuven, 2021. http://dx.doi.org/10.2307/j.ctv1595mb9.32.
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Bozhkova, Yasna. "Limbswish." In Modernist Objects, 167–88. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979503.003.0010.
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This chapter explores the interrelation between the everyday object and the art object in the work of New York Dada poet, pioneer assemblage sculptor and performance artist Baroness Elsa von Freytag-Loringhoven. Her intermedial poetics revolves around an unprecedented intrusion of quotidian objects and mass-produced commodities in art and poetry, while her hybrid forms radically redefine both the visual artwork and the poem and do away with the boundaries between different kinds of artistic objects. This chapter situates her artistic practice in the context of Marcel Duchamp’s readymades, while making important distinctions between them. Although the Baroness’ assemblages have been eclipsed by Duchamp’s work, she came up with a strikingly original poetics that is literally “ready-to-wear,” integrating singular arrays of objects into her radical self-performances which work toward developing new genres such as a living body assemblage or a body performance poem. This chapter argues that in Baroness Elsa’s “ready-to-wear” poem-objects unravels a radical and ironic craft which inextricably welds together the consumer product and the unique artwork.
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Carter, Jonathan S. "Modal Ethos." In Establishing and Evaluating Digital Ethos and Online Credibility, 291–308. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-1072-7.ch014.
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Traditionally, the artistic proofs center on the individual rhetor as the locusof ethos. However, as communication becomes internetworked, rhetorical phenomena increasingly circulate independent of traditional rhetors. This absence transfers ethos onto textual assemblages that often function as agents in their own right. This transfer of ethos is particularly apparent in memes, where fragmented images constructed across divergent networked media come together to form a single agentic text. Therefore, this chapter argues that a theory of modal ethos is important to understand this artistic proof's role in a networked media ecology. Through a modal analysis of the meme Scumbag Steve, this chapter argues that the modal construction of the meme gives it a unique point of view, complete with narrative history, affective representation, and social expertise—in short, its very own ethos. This allows networked participants to evoke the meme in controversies ranging from NSA wiretapping to the Ukraine Crisis, demanding new forms of political judgment.
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"Artistic Spaces and Bohemian Lifestyles: Cafés as Spaces of Cultural Consumption." In Urban Assemblage, 67–75. BRILL, 2016. http://dx.doi.org/10.1163/9781848884588_007.
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Elhaik, Tarek. "Untimely Futures." In The Incurable-Image. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474403351.003.0007.
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This chapter speculates on the future of contemporary anthropological ‘installations’ by reappropriating the very term ‘installation’ beyond its traditional home in the art world. Such reappropriation — indeed theft — invites the reader to sense the incurable-image as a form of life that harbors and struggles with a futurist mode of care. This symptomatology enables a renewed encounter between the conceptual personae composing this book's assemblage — curator, anthropologist, artist. The personae they repeat are ‘not just a matter of diagnosis. Signs imply ways of living, possibilities of existence, they're the symptoms of life gushing forth and draining away’. Ultimately, these incurable-images and iterative assemblages begin to release untimely futures in which the artists, anthropologists, and curators use inter-media experimentation as part of a demanding ethics of immanence to endure our states of curation.
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Dezeuze, Anna. "Joins in the age of ‘liquid modernity’." In Almost Nothing. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719088575.003.0005.
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This chapter provides a reading of precarious practices developed in the 1990s by artists Francis Alÿs, Gabriel Orozco, Thomas Hirschhorn and Martin Creed as both responses to forms of aggressive capitalism that had become widespread since the 1980s, and reactions to some of the more visible art practices that had emerged during that decade. Zygmunt Bauman’s 2000 analysis of the ‘liquid’ characteristics of contemporary capitalism is shown to extend Arendt’s earlier discussion of the modern human condition in its emphasis on ever-faster cycles of consumer gratification at the expense of durable products and stable social relations. This chapter demonstrates some of the ways in which 1990s practices extended the dematerialisation of 1960s assemblage and ‘borderline’ practices, through explorations of a ‘join’ between art and the world, as Martin Creed called it, through discreet interventions (Francis Alÿs, Gabriel Orozco), or sprawling assemblages (Thomas Hirschhorn). Most importantly, this join may serve as a rub in the smooth global flows of capital.
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Page, Tara. "Placemaking: The Australian Bush." In Placemaking, 11–62. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474428774.003.0002.
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Chapter One is an assemblage of data of the socio-material embodied ways of making a place-world, the Australian bush. This chapter is an intra-action of the participants and authors everyday and artistic practices-makings and critical reflections. This intra-action of experiential-embodied prose and art practices-outcomes, is a sharing of the senses of place and to ‘work’ the differences that make a difference. The content of this chapter enables an understanding of the ways of making place, and how through everyday practices with creative-artistic makings place and belonging is made and learned https://www.tarapage.org/placemaking
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Wong, Hertha D. Sweet. "Julie Chen’s Artists’ Books." In Picturing Identity, 115–43. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469640709.003.0005.
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Artists’ books are visual and sculptural objects that reference the structure of the book –the binding, the page, the spine, the text, and the layout. Often, image and text in artists’ books function co-equally. Artists’ books, then, refer to concepts of the book as a material form and a time-based medium. This chapter presents a brief history of artists’ books, then argues that Julie Chen’s artists’ books address time as it relates to subjectivity. She does this by rendering time spatially, slowing down time and forcing readers to focus attentively on a single moment and thus stretching a singular act of attention into a temporal meditation. Ultimately, Chen creates books that mirror structures of cognition, offering readers/viewers an experience of her interiority as an assemblage of interpenetrating moments and processes of consciousness.
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King, Edward. "Photography as Anthropotechnique and the Legacy of Canudos." In Latin American Culture and the Limits of the Human, 256–78. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401490.003.0011.
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This chapter explores the ways in which Flávio de Barros’s photographic documentation of the war in Canudos (1896–1897) has become a conceptual prism through which to consider the role of photography in both the maintenance and contestation of biopolitical control in Brazil. The photobook Desterro (2014), a creative archive of a “fictional ethnographic” expedition to the site of the war led by artist Ícaro Lira, sets up a dialogue with De Barros’s photographs and their role in the violent foundations of the Brazilian Republic at the end of the nineteenth century. By incorporating these photographs into an assemblage of texts, objects, and images that includes narrative, photographs of the desert landscape surrounding Canudos as well as rocks gathered during the expedition, Desterro shifts the focus from photography as a biopolitical technology to its role in the displacement of anthropocentrism in favor of a perspective that privileges the human’s constitutive entanglements with the nonhuman. As well as an engagement with the legacy of De Barros’s photography, Desterro is also a meditation on the artist’s book itself, a form that draws on a number of photo-textual traditions (including ethnographic photography and traveller-artists’ books), in order to intervene into changing conceptions of the human.