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Journal articles on the topic 'Engagement des artistes'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

McKay, Carolyn Louise. "Covert: the artist as voyeur." Surveillance & Society 11, no. 3 (2013): 334–53. http://dx.doi.org/10.24908/ss.v11i3.4504.

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An engagement with the aesthetics, rhetorics and methodologies of surveillance presents a canvas on which visual artists can critique, subvert or just play with emergent technologies. This paper probes artistic methodologies that implicate surveillance and the ethical tensions of appropriating the surveilled lives of strangers for creative pursuits. The ethically challenging practices of several contemporary artists are discussed including Sophie Calle, and the author reflects upon her own body of work. The role of the artist, the nature of the gaze, privacy versus artistic expression, surveil

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Cyr, Catherine. "L’expérience immersive et les intermittences de l’attention." Tangence, no. 108 (May 30, 2016): 77–93. http://dx.doi.org/10.7202/1036455ar.

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Depuis quelques années, au Québec comme en Europe, plusieurs artistes s’attachent à mettre en scène des parcours théâtraux où le spectateur se déplace dans l’espace, de façon plus ou moins structurée. Alors que quelques-uns privilégient une certaine restriction de la mobilité physique et proposent une avancée strictement balisée, d’autres préfèrent laisser le spectateur déambuler sans contrainte dans un lieu aux frontières mouvantes, indéterminées. Cet engagement physique du spectateur dans un espace qu’il sillonne de ses pas et partage avec des acteurs (présents ou virtuels), induit des modal

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Prins, Laura. "L’Art pour l’Art or L’Art pour Tous?" International Journal for History, Culture and Modernity 4, no. 1 (2016): 92–126. http://dx.doi.org/10.18352/hcm.505.

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Between 1896 and 1903, Jean Grave, editor of the anarchist journal Les Temps Nouveaux, published an artistic album of original prints, with the collaboration of (avant-garde) artists and illustrators. While anarchist theorists, including Grave, summoned artists to create social art, which had to be didactic and accessible to the working classes, artists wished to emphasize their autonomous position instead. Even though Grave requested ‘absolutely artistic’ prints in the case of this album, artists had difficulties with creating something for him, trying to combine their social engagement with

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Skar, Lowell, and Pornrat Damrhung. "Roundtables on Performance Research, Developing Cultural Ecologies, and Artistic Research Networking in the Asia-Pacific." Manusya: Journal of Humanities 23, no. 3 (2020): 450–74. http://dx.doi.org/10.1163/26659077-02303012.

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Abstract Three sessions of international and local participants from a July 2019 conference created active ecosystems which generated living examples of intercultural improvisation, performance research, cultural ecologies and artistic research in Thailand. Summarized and assessed in this article, these sessions revealed some of the first fruits of Thailand’s work in these areas through engagement with other practitioners in the region. Besides offering creative improvisation among Thai artists and artist-centered critical assessments of their work, the article captures active thinkers seeking

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Henderson, Linda Dalrymple. "Editor's Introduction: I. Writing Modern Art and Science – An Overview; II. Cubism, Futurism, and Ether Physics in the Early Twentieth Century." Science in Context 17, no. 4 (2004): 423–66. http://dx.doi.org/10.1017/s0269889704000225.

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This issue of Science in Context presents a sampling of current work by art historians examining modern artists' engagement with science as well as the relationship of photography to both science and art. The essays' topics span the mid-to-later nineteenth century to the 1960s and, thus, in a series of case studies provide an introduction to aspects of artistic modernism. Indeed, it is impossible to understand fully many of the radical innovations of modern art without some knowledge of an artist's cultural context, and developments in science have often played a critical role in defining that

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Banfield, Janet, and Mark Burgess. "A Phenomenology of Artistic Doing: Flow as Embodied Knowing in 2D and 3D Professional Artists." Journal of Phenomenological Psychology 44, no. 1 (2013): 60–91. http://dx.doi.org/10.1163/15691624-12341245.

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Abstract This research investigates flow experiences and explores meaning construction for artistic practices that differ in haptic nature. In addition to the phenomenological analysis of interviews, videos of artistic practice and practice-based research (in which participants instruct the researcher in their primary techniques) were employed to obtain both retrospective and real-time records of the physicality of artistic practice. Drawing on authors who emphasise the automatisation of actions in flow (Dietriche, 2004; Spinelli, 2005) and heightened body awareness (Pagis, 2009) flow is recon

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Sawant, Shukla. "The Trace Beneath: The Photographic Residue in the Early Twentieth-century Paintings of the “Bombay School”." BioScope: South Asian Screen Studies 8, no. 1 (2017): 1–29. http://dx.doi.org/10.1177/0974927617700768.

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This essay examines the interface between the indexical and the gestural, through the practice of early twentieth-century painters active in the Bombay Presidency and adjoining princely states such as Kolhapur and Aundh. It draws upon archival materials such as biographies, memoirs, and photographs documenting artists at work in the studio, as well as remains of posed photographs that were produced as aide-mémoire for paintings. It throws light on the fraught place of photography as aesthetic practice in the art academy, its association with colonial protocols of scientific accuracy, capture a

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Pena, Mary. "Black Public Art: On the Socially Engaged Work of Black Women Artist-Activists." Open Cultural Studies 3, no. 1 (2019): 604–14. http://dx.doi.org/10.1515/culture-2019-0053.

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Abstract Inaugurated at the Brooklyn Museum of New York in 2017, the path-breaking exhibition “We Wanted a Revolution: Black Radical Women, 1965-85,” centers the creative expressions and lived experiences of black women artists within a primarily white, middle-class, heteronormative mainstream feminist movement. Engaging visual mediums, artist-activists rendered a black feminist politics through cultural and aesthetic productions. In so doing, artists recast extant representations of black social life, demanded inclusion within cultural institutions, and created black-oriented spaces for artis

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Speight, Elaine, and Charles Quick. "“Fragile Possibilities”: The Role of the Artist’s Book in Public Art." Arts 9, no. 1 (2020): 32. http://dx.doi.org/10.3390/arts9010032.

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Writing during the millennium, not long after the installation of Antony Gormley’s The Angel of the North, artist and publisher Simon Cutts criticised the dominance of monumentalism within the field of public art. Decrying the lack of critical engagement offered by public sculpture, he called for an alternative approach, focussed upon process rather than product. Almost two decades later, it could be argued that mainstream understandings of public art have expanded to incorporate more ephemeral approaches, such as performance, sound art and social interventions. Within this context, the artist

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Wood, Sharmila. "Making Space. Singapore, Artists & Art in the Public Realm." Journal of Public Space, Vol. 5 n. 4 (December 1, 2020): 137–54. http://dx.doi.org/10.32891/jps.v5i4.1408.

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In recent times Singaporean artists have undertaken audacious artistic performances, actions and interventions in public space, highlighting the role of artists as provocateurs of debates around public space and their engagement with issues related to ethical urbanism. Between 2010 – 2020 artists working in diverse fields of artistic practice including visual art, street art, performance art, community arts and new genre public art begun to locate their artwork in public spaces, reaching new audiences whilst forging new conversations about access, inclusion and foregrounding issues around spat

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Romano, Donna. "In the service of artists – symbiosis and creative engagement in collection development strategy at NIVAL: National Irish Visual Arts Library." Art Libraries Journal 43, no. 3 (2018): 127–36. http://dx.doi.org/10.1017/alj.2018.17.

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This paper explores the essential and dynamic relationship between the artist and the institution in building the public record of arts activity. It examines the lifecycle of artist-generated documentation and the various methods of engagement with the library that result in material contributions to the collection.Taking the view that NIVAL is an essentially democratic project in both collection development and access strategies, the paper presents an introduction to the genesis of the library, and outlines some of the ways in which contemporary artists are supporting the role of NIVAL as ‘li

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Prem, Erich. "Truth Emerging from Leading-Edge Art/Science/Technology Interaction." Leonardo 52, no. 1 (2019): 64–65. http://dx.doi.org/10.1162/leon_a_01470.

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The FEAT initiative organized and studied residencies of leading international artists in European Future and Emerging Technology projects. During the residencies, the artists closely collaborated with engineers and scientists on fundamental research in visionary areas of novel technologies, not solely as an artistic endeavor, but also to investigate effects of artistic engagement on technoscience. Effects of the collaboration are visible on many levels, including addressing fundamental questions about the technoscientific project objectives, ethical aspects and the aesthetics of scientific ex

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Sperber, David. "The Liberation of G-D: Helène Aylon’s Jewish Feminist Art." IMAGES 12, no. 1 (2019): 122–33. http://dx.doi.org/10.1163/18718000-12340105.

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Abstract Helène Aylon (b. 1931) is among the first generation of feminist artists who identified and challenged traditional patriarchal and misogynist readings of ancient religious texts. This article analyzes the discourse and examines the reception of Aylon’s work The Liberation of G-d (1990–1996) within the Jewish art world and the American Conservative Jewish community, and her contribution to these two diverse audiences. Despite the work’s confrontation with tradition, some rabbis from the Conservative movement played a significant role in the acceptance of the work and its exhibition in

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Ede, Siân. "Science and the contemporary visual arts." Public Understanding of Science 11, no. 1 (2002): 65–78. http://dx.doi.org/10.1088/0963-6625/11/1/304.

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Scientists and artists increasingly engage each other's work. This paper provides an initial analysis of that engagement, highlighting the challenge of materials, the fascination of scientific paradigms, the artist's ability to assist with scientific investigation, and the need to explore the political and ethical consequences of science.

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Verma, Meenakshie. "Gender, Creativity and Insanity: From an Anthropologist’s Notebook." Anthropology – Open Journal 4, no. 1 (2020): 9–14. http://dx.doi.org/10.17140/antpoj-4-120.

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This essay has emerged through my research engagements with life history as a research method in anthropology. It is based on the life events of a woman artist. The past few decades have brought an explosion of cultural criticisms and also explorations of women’s creative expressions across cultures. Some of the queries addressed are, how do external forces shape the creativity of female artists. Also, how do creative women respond to such forces? Creative women, then, have a unique relationship to their cultural contexts, as well as to the creative genre to which they respond. This essay also

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Merina, Neena, and Dr Vineeth K. M. "Perception Of Youth Towards Kochi-Muziris Biennale." History Research Journal 5, no. 4 (2019): 213–21. http://dx.doi.org/10.26643/hrj.v5i4.7607.

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The Kochi-Muziris Biennale seeks to establish itself as a centre for artistic engagement in India by drawing from the rich tradition of public action and public engagement in Kerala, here Kochi is located. In a world of competing power structures it is necessary to balance the interests and independence of artists, art institutions and the public.

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Lukito, Josephine, Luis Loya, Carlos Dávalos, Jianing Li, Chau Tong, and Douglas M. McLeod. "Chiming In: A Computer-Assisted Analysis of Popular Musicians’ Political Engagement on Twitter." Social Media + Society 7, no. 2 (2021): 205630512110190. http://dx.doi.org/10.1177/20563051211019013.

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While music as an artistic form is well studied, the individuals behind the art receive relatively less attention. In this article, we provide evidence of celebrity advocacy with a systematic examination of musicians’ political engagement on Twitter. This study estimates the extent to which musicians use Twitter for political purposes, with particular attention to whether such engagement varies across music genres. Through a computational-assisted analysis of 2,286,434 tweets, we group 881 musicians into three categories of political engagement on Twitter: not engaged (comprising the majority

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Innes, Randy. "The Day Nobody Died, War Photography, and the Violence of the Image." RACAR : Revue d'art canadienne 39, no. 2 (2014): 88–99. http://dx.doi.org/10.7202/1027751ar.

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En juin 2008, les photographes Adam Broomberg et Oliver Chanarin étaient « embarqués » (« embedded ») au sein de l’armée britannique dans la province de Helmand en Afghanistan et ont réalisé The Day Nobody Died en réponse aux événements et aux violents incidents qui ont eu lieu pendant leur engagement. Les images de cette série ressemblent à des abstractions colorées et non à des photographies conventionnelles : alors que le papier photographique a été exposé, rien de reconnaissable n’apparaît dans les oeuvres. The Day Nobody Died est le résultat d’une négociation entre l’imaginaire créatif de

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Hilton, Craig. "The Immortalisation of Billy Apple®: An Art-Science Collaboration." Leonardo 47, no. 2 (2014): 109–13. http://dx.doi.org/10.1162/leon_a_00709.

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In The Immortalisation of Billy Apple®, Billy Apple® is simultaneously a subject of art and of scientific endeavor. This project has resulted in the first biological tissue made available for artists and the first biological tissue for science research made available by an artist as art. It has long been understood that Homo sapiens are a selective force of nature. Here the tissue and genetic information survive artistic and scientific natural selection. The Immortalisation of Billy Apple® provides an ongoing opportunity for cultural engagement with biological technology. This paper poses the

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Montgomery, Harper. "Introduction to Carlos Mérida's “The True Meaning of the Work of Saturnino Herrán”." ARTMargins 7, no. 1 (2018): 115–27. http://dx.doi.org/10.1162/artm_a_00203.

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The introductory essay places “The True Meaning of the Work of Saturnino Herrán: The False Critics” (1920), a piece of early criticism written by the Guatemalan artist Carlos Mérida during the first year he lived in Mexico City, within the contexts of the cosmopolitan milieu of post-Revolutionary Mexico and the artist's own trajectory. It suggests that the text both demonstrates intellectuals’ interest in questions of form and national art and Mérida's desire to provide a critical framework for his own paintings of indigenous Guatemalan and Mexican women. In “The True Meaning of the Work of Sa

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Mérida, Carlos. "The True Meaning of the Work of Saturnino Herrán: The False Critics." ARTMargins 7, no. 1 (2018): 128–30. http://dx.doi.org/10.1162/artm_a_00204.

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The introductory essay places “The True Meaning of the Work of Saturnino Herrán: The False Critics” (1920), a piece of early criticism written by the Guatemalan artist Carlos Mérida during the first year he lived in Mexico City, within the contexts of the cosmopolitan milieu of post-Revolutionary Mexico and the artist's own trajectory. It suggests that the text both demonstrates intellectuals’ interest in questions of form and national art and Mérida's desire to provide a critical framework for his own paintings of indigenous Guatemalan and Mexican women. In “The True Meaning of the Work of Sa

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Tung, Wei Hsiu. "From social art practice to environmental aesthetic awakening and civil engagement: The case study of Cijin Kitchen." Journal of Contemporary Chinese Art 7, no. 2-3 (2020): 307–24. http://dx.doi.org/10.1386/jcca_00031_1.

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This article focuses on the nature of socially engaged art as environmental aesthetics in a particular project that has spanned several years from 2014 onwards: the ‘Cijin Kitchen’ project initiated and curated by artist, curator, art educator and activist Wu Mali (b. 1957). The project is set in an underdeveloped seaside community on the outskirts of Kaohsiung with a sizeable population of fishermen, labour workers and diverse immigrants. Importantly, the place has a historical significance due to its rich maritime memories. The Cijin Kitchen project has involved various artists, designers, u

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Bellingreri, Marta. "Body Performance and the Engagement within the City: Women Artists Reframing Gender Roles in Amman." Studi Magrebini 18, no. 2 (2020): 180–202. http://dx.doi.org/10.1163/2590034x-12340027.

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Abstract This article focuses on women artists in the capital of Jordan, Amman, and particularly on their cultural practices as an expression of creative agency. Analyzing the work of visual artist and performer Samah Hijawi and of the co-founders of the art program Spring Sessions, Toleen Touq and Noura al-Khawsaneh, allows us to see the engagement in the city as the reframing of gender roles in neoliberal contemporary patriarchal societies. Their resistance to the codified norms affecting the female presence in public and in the field of cultural management is expressed and experimented with

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Marcal, Helia. "PUBLIC ENGAGEMENT TOWARDS SUSTAINABLE HERITAGE PRESERVATION." Protection of Cultural Heritage, no. 8 (December 20, 2019): 185–210. http://dx.doi.org/10.35784/odk.1084.

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Nowadays, heritage conservators are required to have not only a wide variety of technical but also social and human skills. The shift from a material-based conservation to an approach that focuses on subjects instead of objects (Muñoz Viñas, 2005, p. 147) is a structural approach in contemporary theories of conservation. This tendency towards subjectivity created many possibilities by exposing the multiple perspectives that surround a conservation object. At the same time, it made very clear that conservation objects are contextual and contingent (Clavir, 2009, p. 141). This dichotomy between

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Wang, Yang. "Envisioning the Third World: Modern Art and Diplomacy in Maoist China." ARTMargins 8, no. 2 (2019): 31–54. http://dx.doi.org/10.1162/artm_a_00234.

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In the mid-1950s, China conducted robust cultural exchange with the Third World in tandem with a parallel political program to influence non-aligned nations in contestation to the Soviet Union and Western powers. This article examines this underrecognized facet of Maoist-era art through the international engagements of two Xi'an artists, Shi Lu (1919–1982) and Zhao Wangyun (1907–1977), who traveled to India and Egypt as cultural attaché of the Chinese state. By tracing the travels of the two artists in light of their artistic and theoretical formulations, this article argues that contact with

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Aubrecht, Katie. "Work of Art, Art of Work: Artistic Literacy and Quality in Long-Term Dementia Care." Innovation in Aging 4, Supplement_1 (2020): 92. http://dx.doi.org/10.1093/geroni/igaa057.303.

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Abstract This paper shares results from a thematic analysis (Braun & Clarke, 2006) of semi-structured interviews with a purposive snowball sample of 15 leaders in dementia arts education and praxis from Canada, the United States and United Kingdom. Interviews were conducted as part of a multi-phased collaborative, interdisciplinary arts-informed research project that aimed to operationalize quality mental health and dementia care in long-term care (LTC) from a relational perspective, with a focus on LTC staff literacy. Artistic literacy that is cultivated through creative arts-making and p

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Chin, Matthew, Izumi Sakamoto, Jane Ku, and Ai Yamamoto. "(Re)storying Japanese Canadian Histories: Artistic Engagements." Cultural Studies ↔ Critical Methodologies 21, no. 3 (2021): 264–75. http://dx.doi.org/10.1177/1532708620987260.

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This paper examines how Japanese Canadian (JC) artists challenge discursive limitations of constructing representations of JC pasts. Their interventions into JC history-making are significant given the rise of interest in and proliferation of JC historical accounts, partly as a result of the accelerated passing of the remaining survivors of JC incarceration within a broader context of unsettled and unsettling discourses around incarceration in JC families and communities. Contrary to narratives of JC history premised on the conventions of academic history writing, we explore how JC artists eng

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Nikolić, Tatjana. "Social engagement of young female artists in the digital context." Kultura, no. 169 (2020): 86–112. http://dx.doi.org/10.5937/kultura2069086n.

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Young women take more and more significant place in online space using all the benefits of the creative features of Internet and digital media. Even though gender inequality is possibly even more present in the online space comparing to the offline, digital environment also stands for a platform for (artistic) expression and an arena of the tension between attitudes, tastes, expressions and ideas. New generations of female authors in the local and regional digital context (could) precede, inspire and lead with their authentic critical thinking and production. This text examines if, to what ext

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Félix-Jäger, Steven. "Creational Aesthetics and the Challenge of Conceptual Art." Religion and the Arts 20, no. 5 (2016): 663–73. http://dx.doi.org/10.1163/15685292-02005005.

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A trend in theological aesthetics is to advocate for a “creational aesthetic” when discussing the ontology and calling of the artist. In its essential form, a creational aesthetic affirms that artists honor the Creator God by creating art. In some way artists are functioning as God’s image when they make art. While this view is popular in the Christian engagement of the arts, it is uncertain if such an observation is the preeminent way of understanding the role of the artist. Can one be considered an artist if s/he is removed from the tactile process of making? In the contemporary art world, t

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Tuisku, Katinka, Pia Houni, Johanna Seppänen, and Marianna Virtanen. "Association Between Unstable Work and Occupational Wellbeing Among Artists in Finland: Results of a Psychosocial Survey." Medical Problems of Performing Artists 31, no. 2 (2016): 104–9. http://dx.doi.org/10.21091/mppa.2016.2018.

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OBJECTIVE: Although artistic work is in transition, the occupational wellbeing of artists has been less studied than wellbeing among other workers. This study aimed to explore the relationship between work characteristics and occupational (psychosocial) wellbeing of artists. METHODS: A national questionnaire was sent to all artists (theatre artists, writers, and visual artists) reached by four major labor unions in Finland. Type of employment (permanent full-time work vs other), working field (own field of art vs other), regularity of working hours (regular vs irregular), and control of worklo

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Tsukamoto, Eri, and Eri Tsukamoto. "A Reflection on the Artists and Academics Exhibition." Exchanges: The Interdisciplinary Research Journal 4, no. 2 (2017): 227–31. http://dx.doi.org/10.31273/eirj.v4i2.159.

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On 26 November 2016, the Artists and Academics Exhibition was held at Fargo Village in Coventry. The Exhibition was a collaborative project between seventeen PhD researchers from the University of Warwick and seventeen local artists, in which each artist created a piece inspired by a research idea. The Exhibition fostered active conversation between artists, academics and the general public, thereby encouraging all participants to talk about academic works in an informal setting and to explore new ideas and perspectives. Collaborative projects like the Exhibition thus benefit all who participa

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de Pomereu, Jean. "All but blank: Artistic approaches to human Antarctica." Polar Record 55, no. 5 (2019): 337–40. http://dx.doi.org/10.1017/s0032247419000421.

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AbstractThe visual arts have played an increasingly important role in examining and critiquing past and present human activities in Antarctica as governed by the Antarctic Treaty and its Protocol on Environmental protection. This paper analyses the work of six artists who have contributed to this scrutiny, awakening us to fabrications and helping to enrich Antarctic cultures beyond the scientific and the environmental. It encourages all signatory nations to the Antarctic Treaty System to embrace and empower a more diverse artistic engagement with Antarctica and suggests that artists find new w

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Holt, Emily, and Grace Mahoney. "Rupture and Call: Famine Encounters from Contemporary Irish and Ukrainian Women in the Arts." East/West: Journal of Ukrainian Studies 7, no. 2 (2020): 69–97. http://dx.doi.org/10.21226/ewjus612.

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In this paper, the authors examine artistic engagement with famine memory by six women artists working in the Irish and Ukrainian contexts: Alanna O’Kelly, Paula Meehan, Mary McIntyre, Oksana Zabuzhko, Nataliia Vorozhbyt, and Lydia Bodnar-Balahutrak. Representing famine in artistic form is mired in ethical challenges. When interpreted at the level of national narratives, such histories can become identities and form a part of the collective ethos. Work by women artists is critically positioned to challenge the strong association between the feminine and the nation found in nationalistic discou

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Danielsen, Anne, and Yngvar Kjus. "The mediated festival: Live music as trigger of streaming and social media engagement." Convergence: The International Journal of Research into New Media Technologies 25, no. 4 (2017): 714–34. http://dx.doi.org/10.1177/1354856517721808.

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Live music events are increasingly saturated with and mediated via the online and mobile devices of the audience. This article explores patterns in this media use surrounding the Øya festival in Norway and focuses, in particular, on music streaming and social media activity. It presents statistical analysis of listening sessions via the streaming service Wimp and social interactions via the micro-blogging platform Twitter. The juxtaposition of these unique access points allows the analysis to explore the impact of physical live concerts on the digital music experience. It also enables a nuance

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Dumitriu, Anna. "Trust Me, I’m an Artist: Building Opportunities for Art and Science Collaboration through an Understanding of Ethics." Leonardo 51, no. 1 (2018): 83–84. http://dx.doi.org/10.1162/leon_a_01481.

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Ethical issues frequently arise in the production and exhibition of bioart, both as subject matter and as an issue in itself. This article explores how learning from the author’s experiences as lead project artist in the Creative Europe—funded Trust Me, I’m an Artist project, along with her work as a freelance artist, which is deeply embedded in laboratory settings around the world, can help build capacity and opportunities for artists and scientists to work together in interdisciplinary and transdisciplinary collaborations to address the societal and cultural implications of emerging bioscien

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Watfern, Chloe. "Thom Roberts Reads Crowns." Art/Research International: A Transdisciplinary Journal 6, no. 2 (2021): 505–21. http://dx.doi.org/10.18432/ari29546.

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At Studio A, a supported studio for neurodiverse artists, the prolific painter, performer, photocopier, and installation artist Thom Roberts frequently reaches out to connect with friends and fellow artists by running his hands across the backs of their heads; “reading” their crowns. It’s a blessing I have been lucky enough to receive countless times over the course of my ethnographic engagement with Studio A, and as my relationship with Thom has developed. During my research, I have witnessed Thom read crowns in all kinds of contexts, from pubs to art galleries, in a performance artwork that

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Hudon, Véronique. "Le détournement du commissariat : l’exposition chorégraphique chez Boris Charmatz et Xavier Le Roy." RACAR : Revue d'art canadienne 43, no. 2 (2018): 57–72. http://dx.doi.org/10.7202/1054383ar.

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Today, it is not unusual to see performing artists present exhibitions in galleries or museums. The French choreographers Boris Charmatz and Xavier Le Roy each revisit the format of the exhibition as a performative site, rather than a space devoted to artistic objects. At the border between curating and artistic practice, their work questions the museum space as a place for the production of knowledge. Through living practice, choreographers redefine the work of art’s modes of production, mediation, and reception, while also reformulating aesthetic experience through the coexistence of bodies,

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Biggs, Simon. "Exiting the Comfort Zone: From Algorithm to Interaction in the Early Work of Simon Biggs." Leonardo 52, no. 3 (2019): 309–13. http://dx.doi.org/10.1162/leon_a_01483.

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The 1970s and early 1980s saw the emergence of the microcomputer and the domain of personal computing. Within that context, some artists were working with such digital systems, contributing to these developments in various ways. This article reflects upon one such artist’s involvement in these developments and how his initial interest in computational processes allowed him to explore a series of formal concerns, and how this then evolved into an engagement with more conceptual and philosophical concerns around the ontology of people and technology. The article also considers the value of under

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Wolbring, Gregor, and Fatima Jamal Al-Deen. "Social Role Narrative of Disabled Artists and Both Their Work in General and in Relation to Science and Technology." Societies 11, no. 3 (2021): 102. http://dx.doi.org/10.3390/soc11030102.

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Artists and the arts have many different roles in society. Artists also have various roles in relation to science and technology, ranging from being users of science and technology products to being educators for science and technologies, such as in museums. Artists are also involved in science and technology governance and ethics discussions. Disabled people are also artists and produce art, and disabled people in general and disabled artists are impacted by science and technology advancements. As such, disabled artists should also engage with science and technology, as well as contribute and

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Soliman, Asmaa. "Muslim Women’s Self-Representation in Art." Religion and Gender 9, no. 2 (2019): 170–93. http://dx.doi.org/10.1163/18785417-00902002.

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Abstract This article examines German Muslim women’s artistic self-representation arguing that their public engagement can be seen as an example of counterpublics. Two main features can be found. First, the artists feel disappointed by the mainstream public, as it excludes and misrepresents Muslim women. Second, an agitational orientation can be observed, as the artists intend to offer explicitly articulated alternative self-representations targeting the mainstream public. The normality of their female German Muslim identity is conveyed. The very fact that the artists aim to challenge dominant

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Freer, Patrick K. "Toward the Purposeful Engagement of Students With Artists." Teaching Artist Journal 5, no. 4 (2007): 269–78. http://dx.doi.org/10.1080/15411790701577519.

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Graves, Ph.D, P. Nelson. "ELAnatsui, Visual Arts and Intersection with Knowledge." World Journal of Education and Humanities 2, no. 3 (2020): p71. http://dx.doi.org/10.22158/wjeh.v2n3p71.

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“Natural synthesis” compartmentalized the black art world. This essay unravels how with folkloric gleeEL Anatsui, in a “selective critiquing and re-evaluation of self” dared to “wriggle out” of that quagmire. Thusly, reactivating the dynamic terrain that lives and is animated from within the soul of artists, he forged a new path of creativity. With reappraisals of the intellectual dynamics that forged the artistic substance of the post 1960s; empirical analysis and the engagement of storytelling mechanisms, this essay unreels that artistry. Anatsui, in spite of his accademisisation and art pra

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Feldwisch, Rachel P., Kristie L. Coker, Shanna M. Stuckey, Ashley A. Rittenhouse, Kassi K. Kite, and Joshua S. Smith. "The impact of an arts‐integrated curriculum on student literacy and engagement." International Journal of Literacy, Culture, and Language Education 3 (April 1, 2014): 95–111. http://dx.doi.org/10.14434/ijlcle.v3i0.26910.

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This paper presents the results of mixed‐method examination of the implementation and outcomes of the Arts Integration Program (AIP). The AIP was created by a national nonprofit organization that works with educational systems, the artscommunity, and private and public sectors to provide arts‐related education to elementary school aged children. The arts‐based literacy curriculum included an artist‐in‐residence component. The study design included classroom observations,interviews, and a pre–post standardized Literacy Assessment Tool in 11 schools in the Midwest. Results show high levels of st

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Bain, Alison L., and Friederike Landau. "Artists, Temporality, and the Governance of Collaborative Place-Making." Urban Affairs Review 55, no. 2 (2017): 405–27. http://dx.doi.org/10.1177/1078087417711044.

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Place-making is a policy exercise rooted in a politics of both space and time. By examining the temporal sequencing of discursive relations and governance networks in the cultural redevelopment of Güterbahnhof Moabit in Berlin, this article demonstrates the fallacy of place-making via artist proxy. It documents the hidden expectations of artist stakeholders and the overextension of their capacities in their municipally delegated and self-assumed roles as “strategic” and “collaborative” partners with local government in place-making processes. It argues that contrary to collaborative and partic

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Vaughan, Kathleen, Emanuelle Dufour, and Cynthia Hammond. "The "Art" of the Right to the City: Interdisciplinary Teaching and Learning in Pointe-St-Charles." LEARNing Landscapes 10, no. 1 (2016): 387–418. http://dx.doi.org/10.36510/learnland.v10i1.739.

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What does it mean for artists within academia to make art, teach and learn with and in community, in particular the challenged and challenging Montreal neighborhood of Pointe-St-Charles? This article addresses community engagement in "The Point" from the perspectives of a doctoral student and two instructors involved in "The Right to the City" (TRTC), a three-year, interdisciplinary, placed-based teaching initiative of Concordia University (Montreal). Showcasing the student’s graphic novella, based on the oral history interview of a longtime resident, this article affirms the importance of rec

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Doyle, Denise. "Phenomenologies of Practice." International Journal of Art, Culture and Design Technologies 4, no. 1 (2014): 1–12. http://dx.doi.org/10.4018/ijacdt.2014010101.

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In the field of art and technology engagement with virtual worlds as spaces for creative practice challenges and enhances our understanding of the phenomena of imagining. The experience of creating in technology-mediated spaces through an avatar form brings the phenomenological experience of the body into the act of creating itself. Ways of explaining this creative process and its relationship to imaginative experience highlights a phenomenology of practice of artists working in this realm. This article considers the implications of this methodological approach and presents the case for invest

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BROOKES, JAMES. "Images in Conflict: Union Soldier-Artists Picture the Battle of Stones River, 1862–1863." Journal of American Studies 54, no. 5 (2019): 870–99. http://dx.doi.org/10.1017/s0021875819000112.

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The Civil War marked a revolution in the use of visual culture, during which imagery became a soldier's tool. Engagement with imagery presented both an opportunity and a dilemma, forcing some soldier-artists to abandon existing artistic conventions, whilst others fortified them, in search of ways to represent both the war's violence and tedium. The visual idealization of war jarred uncomfortably with the depiction of the conflict's realities. The creation of a diverse grassroots archive ran parallel to the mainstream narrative, examination of which offers new insight into how some soldiers vis

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Thiessen, Gesa Elsbeth. "Not So Unorthodox: A Reevaluation of Tricephalous Images of the Trinity." Theological Studies 79, no. 2 (2018): 399–426. http://dx.doi.org/10.1177/0040563918766704.

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Among the various iconographies of the Trinity which emerged in Christian art, the three-headed or trifrons image has a contested history. Warned about and censured by two popes, Urban VIII and Benedict XIV, this iconography, despite condemnations, was applied, however, by leading Renaissance artists and survived into the nineteenth century in folk art. This article considers its pre-Christian background, the sixteenth-century theological debates, and, finally, in a detailed engagement with a range of tricephalous images, it critically reevaluates and seeks to demonstrate the disputed orthodox

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Chan, Paul. "Second Nature." October 155 (January 2016): 151–61. http://dx.doi.org/10.1162/octo_a_00246.

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Paul Chan's speech, first delivered on the occasion of Engage More Now! A Symposium on Artists, Museums, and Publics at the Hammer Museum in Los Angeles (November 2015), proposes that artistic experiences be understood as forms that vividly emblematizes the relationship between cunning and reasoning. It considers the ways in which this relationship echoes within the broadest arenas of social life and how such an outlook could upend what have become standard and increasingly tedious debates about aesthetics, politics, and social engagement in art. Chan also delivers a brief attack against the x

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Mohabir, Nalini. "Kala Pani: Aesthetic Deathscapes and the Flow of Water after Indenture." Asian Diasporic Visual Cultures and the Americas 5, no. 3 (2019): 293–314. http://dx.doi.org/10.1163/23523085-00503003.

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This article focuses on the kala pani (dark waters) as a deathscape particular to indentured labourers and their descendants. Following a historical discussion of representations of the kala pani, the author turns to contemporary artists Maya Mackrandilal and Andil Gosine to explore how their artistic engagements are rerouting the flows of the kala pani away from discourses of caste stigma or the finality of (social) death to a reckoning of past and future time for those living in the diasporic space of North America.

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