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Kramer, Chris A. "Subversive Humor as Art and the Art of Subversive Humor." Philosophy of Humor Yearbook 1, no. 1 (September 1, 2020): 153–80. http://dx.doi.org/10.1515/phhumyb-2020-0012.
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Abstract This article investigates the relationships between forms of humor that conjure up possible worlds and real-world social critiques. The first part of the article will argue that subversive humor, which is from or on behalf of historically and continually marginalized communities, constitutes a kind of aesthetic experience that can elicit enjoyment even in adversarial audiences. The second part will be a connecting piece, arguing that subversive humor can be constructed as brief narrative thought experiments that employ the use of fictionalized scenarios to facilitate an open, playful attitude, encouraging a space for collaborative interpretation. This interaction between humorist and audience is an aesthetic experience that is enjoyable in and of itself, as the feelings of mirth are intrinsically valuable. But connected to the “Ha-ha!” experience of these sorts of humorous creations is an “Aha!” or potentially revelatory experience that is a mixture of cognitive comprehension and motivated (emotional) response. The third part of the article will attempt to go beyond the consciousness-raising element with an account of how such possible worlds created in the realm of imagination through subversive humor can bleed into the real world of flesh and blood people. Finally, an example of subversive humor will be analysed.
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Kernev Štrajn, Jelka. "Ecocriticism as Subversive Aesthetics." AM Journal of Art and Media Studies, no. 20 (October 15, 2019): 17. http://dx.doi.org/10.25038/am.v0i20.321.
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Art is subversive when it crosses the boundary of the generally acceptable, though over time such art can and does become mainstream. A much more complicated question is what is subversive in aesthetics? Ecocriticism has already become, along with ecofeminism and animal studies, an academic discipline. It can be defined as subversive if it is understood in terms of an attitude, which is not anthropocentric. And here is the catch: how can the human also encompass the alien? The question that emerges here is all but rhetorical: how can we decentre and amplify our human consciousness and perspective to include zoocentric, biocentric or geocentric positions? At this point the contemporary theory creates contrasting opinions, which cross the boundaries of aesthetics, poetics and ecocriticism since they reach out to the fields of metaphysics and antimetaphysics. Within the phenomenon of perception the other always appears, as Deleuze said in his Logic of Sense, as “a priori Other”. We have to deal, henceforth, with a kind of pre-reflexive level of consciousness and amplified sensory perception, which, as we know, is the basic condition of artistic creation. Thus, this paper – because it seeks to penetrate into the node of these questions – takes literary art as its starting point. In the spirit of the above-mentioned observations, I have attempted to investigate in ‘minority literature’ (female authors of contemporary Polish and Slovene literature) how this decentred attitude, which Jure Detela, a Slovene poet, poetically defined, corresponds to our thesis on a particular ecocritical stream, which can be defined as an ecofeminist aesthetics. The ‘minoritarian literature’ here is meant exclusively in the sense that was defined by Deleuze and Guattari’s books Kafka and A Thousand Plateaus. Article received: April 12, 2019; Article accepted: July 6, 2019; Published online: October 15, 2019; Original scholarly paperHow to cite this article: Kernev Štrajn, Jelka. "Ecocriticism as Subversive Aesthetics." AM Journal of Art and Media Studies 20 (2019): 17-25. doi: 10.25038/am.v0i20.321
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WISEMAN, MARY BITTNER. "Subversive Strategies in Chinese Avant-Garde Art." Journal of Aesthetics and Art Criticism 65, no. 1 (January 2007): 109–19. http://dx.doi.org/10.1111/j.1540-594x.2007.00242.x.
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Gerity, Lani A. "The Subversive Art Therapist: Embracing Cultural Diversity in the Art Room." Art Therapy 17, no. 3 (January 2000): 202–6. http://dx.doi.org/10.1080/07421656.2000.10129704.
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Brand, Peg. "Feminist Art Epistemologies: Understanding Feminist Art." Hypatia 21, no. 3 (2006): 166–89. http://dx.doi.org/10.1111/j.1527-2001.2006.tb01119.x.
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Feminist art epistemologies (FAEs) greatly aid the understanding of feminist art, particularly when they serve to illuminate the hidden meanings of an artist's intent. The success of parodic imagery produced by feminist artists (feminist visual parodies, FVPs) necessarily depends upon a viewer's recognition of the original work of art created by a male artist and the realization of the parodist's intent to ridicule and satirize. As Brand shows in this essay, such recognition and realization constitute the knowledge of a well-(in)formed FAE. Without it, misinterpretation is possible and viewers fail to experience and enjoy a full and rewarding encounter with a provocative and subversive work of art.
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Grogan, Christine. "The Subversive Art of Zelda Fitzgerald by Deborah Pike." Tulsa Studies in Women's Literature 37, no. 1 (2018): 223–25. http://dx.doi.org/10.1353/tsw.2018.0020.
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Myburgh, Albert. "Cathy’s Subversive ‘Black Art’ in Emily Brontë’s Wuthering Heights." English Academy Review 35, no. 1 (January 2, 2018): 61–72. http://dx.doi.org/10.1080/10131752.2018.1474623.
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Cloutier, Geneviève, Awad Ibrahim, and David Pratt. "Subversive identities at the art museum: An ESL university student’s experience at the National Gallery of Canada." Canadian Review of Art Education: Research and Issues / Revue canadienne de recherches et enjeux en éducation artistique 43, no. 1 (October 17, 2016): 139. http://dx.doi.org/10.26443/crae.v43i1.22.
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Abstract: Art education became interwoven with cultural mediation when a university-level English language certification class was taken on a field trip to the National Gallery of Canada. This article focuses on one ESL student who locates her subversive identity as she engages with and interprets an artwork in an interview. This student’s memorable, affective, and intimately personal thoughts and feelings, as we shall see, expose the semiotic and pedagogical importance of employing strategies that honour students’ identities and lived experiences. The authors call for more research in what they refer to as ‘critical ESL art museum education’KEYWORDS:Anglais langue étrangère; apprentissage de langue; culture; éducation muséale artistique; identités opposantes; pédagogie; affectif.ESLRésumé: Éducation artistique et médiation culturelle se sont entremêlées lors de la visite au Musée des beaux-arts du Canada d’une classe de certification de langue anglaise de niveau universitaire. Cet article se concentre sur une étudiante d’ALS qui trouve son identité subversive en découvrant et en interprétant une œuvre d’art dans le cadre d’une entrevue. Nous noterons à quel point les pensées et sentiments affectifs, extrêmement personnels et inoubliables de cette étudiante soulignent l’importance sémiotique et pédagogique du recours à des stratégies qui valorisent l’identité et le vécu des étudiants. Les auteurs souhaitent qu’il y ait davantage de recherches menées dans le domaine qu’ils nomment « l’éducation critique en ALS pour les musées des beaux-arts ». MOTS CLES: Language learning; culture; art museum education; subversive identities; pedagogy; affect
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Moran, Ruth Alexandra. "Street appropriation: Subversion as commodity in Dublin." Visual Inquiry 9, no. 1 (September 1, 2020): 27–44. http://dx.doi.org/10.1386/vi_00008_1.
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This article examines the recent intense public interest in Dublin street art collective Subset’s urban painting, which co-opts the language, practices and attitude of graffiti culture as brand narrative, producing a commodity from their portrayal of subversion, which they self-promote on social media. While the career trajectory from vandal or graffiti artist to the established art world is nothing new, what is particularly interesting is how Subset went from an unknown group of art college graduates in early 2017 to their acceptance and recognition by the arts establishment in late 2019. The case of Subset is interesting in terms of the evident cultural cachet of their synthesis of subversive practices and the promotion of their brand in their work, which has proven very popular with the public. As a result, the Subset brand has in turn been co-opted by traditional media, political discourse and the arts establishment.
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Marjanić, Suzana. "The Subversive Icon of Pregnancy in Opposition to the Culture of Fear." Narodna umjetnost 57, no. 1 (June 19, 2020): 197–216. http://dx.doi.org/10.15176/vol57no109.
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This paper problematizes the subversive icon of pregnancy and offers a linear overview of its various iterations in juxtaposition to the culture of fear, starting with Vlasta Delimar, whose installation Pregnancy (Trudnoća, 1987), inscribes her in the feminist and women’s art history of the Yugoslav/Croatian context as the first domestic artist who employed photo-documentation, or photo-performance, to document her own pregnancy. She performed her pregnancy in the manner of a goddess, sexualizing it by means of the Baubo pose. Next, the paper addresses the interpretations of the subversion achieved by the pregnant belly in Sanja Iveković’s work Lady Rosa of Luxembourg (2001). The sequence is further contextualized by the distressing confessional of Martina Križanić, a younger generation artist, who visualized the subversive representation of motherhood (Changing Booths, installation, 2017) from her own perspective and without fear, in the first local exhibition about pregnancy Woman – Pregnant Woman – Mother: Green Spheres and Necropolitics (Žena – trudnica – majka: zelene sfere i nekropolitike, Vladimir Bužančić Gallery, Zagreb 2017, curated by Anita Zlomislić).
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Dunbar, Alina. "María Elena Walsh and the Art of Subversive Children’s Literature." Bookbird: A Journal of International Children's Literature 52, no. 3 (2014): 22–30. http://dx.doi.org/10.1353/bkb.2014.0105.
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Bureau, Sylvain P., and Aris Komporozos-Athanasiou. "Learning subversion in the business school: An ‘improbable’ encounter." Management Learning 48, no. 1 (August 20, 2016): 39–56. http://dx.doi.org/10.1177/1350507616661262.
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Entrepreneurs develop activities that aim to challenge the status quo, break rules and subvert systems. How can such a thing be taught/learnt in a business school? This article contributes to current debates within entrepreneurship studies that seek to address the subversive nature of entrepreneurial activity. It presents an ethnographic case study of an entrepreneurship course that attempts to re-define the teaching and learning boundaries of subversive activities in a leading European business school. Drawing on the theory of Bakhtin, which has thus far been overlooked in entrepreneurship studies, we unpick the potentiality of art practices in the learning and experiencing of the subversive dimension of entrepreneurship. We employ the concept of ‘dialogical pedagogy’ in order to address calls for more ‘relationally experienced’ approaches to management learning that foreground the conflicts, emotional strains and uncertainties that are embedded in the fabric of entrepreneurial practice. We show how ‘subversive dialogues’ are enacted between students and teachers as they engage in the learning process, and we discuss implications for critical entrepreneurship teaching in an increasingly commoditized education environment.
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Bonnett, A. "Art, Ideology, and Everyday Space: Subversive Tendencies from Dada to Postmodernism." Environment and Planning D: Society and Space 10, no. 1 (February 1992): 69–86. http://dx.doi.org/10.1068/d100069.
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This is a paper about the transgression of the boundary between art and everyday space. It traces the development of a practical and theoretical critique of this divide from Dada and surrealism to situationism and postmodernism, whilst showing how these movements have themselves often perpetuated a specialized notion of cultural production. The ultimate failure of these movements, with the exception of situationism, to develop a coherent and effective challenge to the dualism art—everyday space is related to their reliance upon the artistic ideologies of antiart, indifference, and spontaneism.
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Li, Shan. "Visual form beyond traditional media——On the expression and construction of watercolor art in digital painting." E3S Web of Conferences 189 (2020): 03013. http://dx.doi.org/10.1051/e3sconf/202018903013.
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In the context of the development of digital image era and digital media art, watercolor art, as a traditional form of painting, will inevitably experience a subversive change and transformation of painting methods and ideas. By analyzing the artistic expression and construction process of watercolor art in digital painting, this paper finds out the aesthetic value and significance of watercolor art in digital painting, discusses the relationship between traditional watercolor painting and digital painting and the new space of watercolor development in the future.
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RUBY, JAY. "Anthropology as a Subversive Art: A Review of Through These Eyes." American Anthropologist 107, no. 4 (December 2005): 684–87. http://dx.doi.org/10.1525/aa.2005.107.4.684.
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Mlotshwa, Khanyile. "Matabeleland and the Rulers’ Political Sins: Defining Subversive Art in Zimbabwe." Metacritic Journal for Comparative Studies and Theory 5, no. 1 (July 10, 2019): 77–95. http://dx.doi.org/10.24193/mjcst.2019.7.04.
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András, Orsolya. "From Subversive Strategies to Women’s Empowerment." Acta Universitatis Sapientiae, Philologica 12, no. 3 (November 1, 2020): 17–33. http://dx.doi.org/10.2478/ausp-2020-0021.
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AbstractThis paper discusses the potential of humour in understanding and deconstructing gender inequalities and analyses the representation of some feminist issues in two Spanish-speaking artists’ works. The theoretical framework explores the interpretation of laughter by feminist authors as well as different approaches of feminist humour in the context of cultural studies. The definition of humour presented here is that it can function as an open space where we can safely observe social structures and experiment with our imagination. In the second part of the paper, some examples from Quino’s comic series Mafalda and Flavita Banana’s vignettes are discussed. In the interpretation of these artworks, the paper highlights two types of feminist discourse and, specifically, of feminist humour. The first one, exemplified through Quino’s Mafalda, uses subversive strategies in order to expose social injustice and sexism. However, these strategies are sometimes still not able to propose an alternative to the existing status quo. The second type of feminist discourse and humour, characteristic of Flavita Banana’s art, also starts from depicting the consequences of patriarchy. However, her approach is not only subversive but also empowering and liberating, constructing a safe imaginative space through humour.
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Timothy, Alexander Essien. "Discovering My Left Hand: Conducting Language Arts Research in Nigeria." LEARNing Landscapes 9, no. 2 (April 1, 2016): 513–33. http://dx.doi.org/10.36510/learnland.v9i2.790.
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Having been nurtured in the counting culture in Nigeria, my discovery of qualitative research methodology was as novel and subversive as using my left hand, which is considered a taboo in many Nigerian homes. This paper relates my initial attempt to deploy a qualitative methodology, especially art as a research tool, in investigating why Nigerian senior secondary school students and teachers hated Oral English. That study provided a canvas for the exhibition of art in my inquiry.
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Rolez, Anaïs. "The Mechanical Art of Laughter." Arts 8, no. 1 (December 21, 2018): 2. http://dx.doi.org/10.3390/arts8010002.
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Our aesthetic experiences are today conditioned by machines, which operate at multiple levels: at the moment of conception of a work, at the moment of conservation and distribution of the work, and at the moment of its contemplation. For art today, it is no longer a theoretical question of asking whether the machine can act with freedom in the sense of a game that remains as of yet open-ended—or if humans themselves can still so act in a world entirely conditioned by technology—because the brute fact is that machines are becoming ever more autonomous, and humans ever more dependent upon them. For some artists, therefore, the ideas of autonomy and sacralization are best addressed, not in the posing of serious questions, but rather through the subversive activity of enticing the machine to reveal its comic nature—and wherein we discover, with Bergson, the essentially rigid and mechanical nature of the humorous.
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Anih, Uchenna Bethrand. "Between the Subversive Pen and the Blasphemous Microphone." Matatu 48, no. 2 (2016): 253–66. http://dx.doi.org/10.1163/18757421-04802002.
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Iconoclasm is a term that has been used to characterize any subversive, transgressive, and blasphemous adventure. There is abundant evidence that the African female creative impulse is geared towards subverting the existing social order as dominated and controlled by men. The two African female artists whose works are analysed in this study employ vivid sexual imagery to challenge the hegemony of male-oriented discourse. This essay examines the iconoclastic tendencies to be found in the Cameroonian Calixthe Beyala’s Amours sauvages and the Nigerian Saint Janet’s Faaji Plus. It concludes that although the two writers belong to different linguistic and geographical regions, and indeed to different generations, their works provide clear evidence of subversive art and depict a radical reaction to phallocentric norms and values in the African context.
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Lerner, Giovanna Faleschini. "Visconti's SENSO: The Art of History." Forum Italicum: A Journal of Italian Studies 41, no. 2 (September 2007): 342–58. http://dx.doi.org/10.1177/001458580704100203.
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This article examines Visconti's subversive use of Francesco Hayez's 1859 iconic painting, Il bacio, in Senso as an essential element of the director's critique of Risorgimento history. In particular, the article proposes that through the recontextualization of Hayez's most recognizable work, which played a fundamental role in shaping the Italian patriotic imagination in the nineteenth century, Visconti problematizes cultural and artistic representations of Risorgimento history, as well as historiographical accounts of the unification process. By juxtaposing artistic accounts of a heroic Risorgimento and his characters' story of passion and betrayal, Visconti denounces traditional representations of the independence movement as historically false and politically biased, and uncovers the discrepancies between individual actions and motivations and uncomplicated representations of the Risorgimento. Gramscian perspective on the Risorgimento. By using art as an instrument of ideological critique he also traces a new direction for Italian intellectuals and artists, by attempting to bridge the gap between aesthetics and ideology and reclaiming for “Poetry” an active role in history.
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Fernandes, António Batarda. "The Entrapment of Art: Rock-Art, Order, Subversion, Creativity, Meaning, and the Appeal of Illusive Imagery." Open Archaeology 4, no. 1 (May 1, 2018): 280–98. http://dx.doi.org/10.1515/opar-2018-0017.
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Abstract Bringing together apparently opposing modern and post-modern approaches to interpretation is one of the challenges that lie ahead for rock-art studies. This endeavour may help to surmount ‘no interpretation is possible’ stances (see Bednarik, 2014) and to value rock-art as a diverse and complex phenomenon where precise significance is concealed within multiple meaning-carrying conveyors. The idea that different rock-art traditions (as with any other art form) made use of a given set of symbols (also) aiming to enforce an ‘imagined’ order is instrumental to the present paper. Ancient imagery, despite precise production contexts, materializes the need to resort to visual symbols in order to help maintain social concord, regardless of exact meaning. However, this is a dynamic process; whenever there is an effort to uphold a certain set of moral and social complying principles, there are also nonconformist and subversive attempts to challenge and mutate that same collection of rules.
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Crawley, Marie-Louise. "Dance as Radical Archaeology." Dance Research Journal 52, no. 2 (August 2020): 88–100. http://dx.doi.org/10.1017/s0149767720000194.
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This essay examines from an artist-researcher perspective the durational solo dance work Likely Terpsichore? (Fragments), created for and performed at the Ashmolean Museum of Art and Archaeology (UK) in 2018. It asks how dance's presence in the archaeological museum might allow an alternative visibility for ancient female bodies previously rendered only partially visible by history. It makes a claim for dance in the archaeological museum as a subversive act of radical archaeology, in terms of how, by playing on notions of dismembering/remembering histories, it seeks to disrupt received notions of how we view and understand ancient history and culture.
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Upalevski, Ilija. "Murals make (Our) history: paintings on the wall as media of cultural memory. Interpreting the current state of Warsaw’s commemorative murals." Przegląd Socjologii Jakościowej 13, no. 4 (December 28, 2017): 114–35. http://dx.doi.org/10.18778/1733-8069.13.4.07.
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The aim of this paper is to closely examine the ways in which the outdoor mural as a form of art. has been used for commemorative purposes in the context of the Polish capital. Drawing on content analysis this paper will argue that regardless of their democratic potential and potential to act subversively in the public domain, the commemorative murals in the case of Warsaw are predominantly reflecting the official narrations/representations of the past and thus reproducing the state-supported, nation-centered, male-dominated perspective of history. Referring to Wulf Kansteiner methodological instructions, the paper introduces the notion of “secondary” memory makers in order to describe the position the mural makers are occupying in the field of Warsaw’s cultural memory. It will also be argued that mural makers, by adapting their works to the demands of the cultural institutions responsible for the memory production and dominant discourses of memory from mainly pragmatic reasons, are forgoing a fair portion of the democratic and subversive potential of the murals. As such, the paintings on the walls are, intentionally or not, further involved in more complex state-sponsored strategies of nationalizing the public space.
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Gschrey, Raul. "Contemporary Closed Circuits – Subversive Dialogues. Artistic Strategies against Surveillance." Surveillance & Society 7, no. 2 (June 5, 2009): 144–64. http://dx.doi.org/10.24908/ss.v7i2.4140.
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The article presents the artistic project “Contemporary Closed Circuits – Subversive Dialogues” in short, descriptive texts and pictures and includes references to the works by artists and scholars who have contributed texts to the catalogue of the exhibition. In addition to the visual material provided in the text, a documentary video of the exhibition can be accessed online. In an evaluative part, I discuss my experiences during the artistic work and the growing desire to address myself at the public and raise consciousness concerning visual surveillance. The work between art and activism, the question of responsibility and considerations on the development of a new ethics in the age of digitalised surveillance form the final part of the text. Works referenced in the text can be explored further at: http://www.pro-these.com/cctv
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Fenouillet, Paul. "1958–2008 : Presse subversive et art de la transgression sous la Vème République." Contemporary French and Francophone Studies 12, no. 2 (April 2008): 255–64. http://dx.doi.org/10.1080/17409290802058121.
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Way, Lyndon C. S. "Protest music, populism, politics and authenticity." Journal of Language and Politics 15, no. 4 (October 7, 2016): 422–45. http://dx.doi.org/10.1075/jlp.15.4.03way.
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Abstract Political discourses are found not only in speeches and newspapers, but also in cultural artefacts such as architecture, art and music. Turkey’s June 2013 protests saw an explosion of music videos distributed on the internet. This paper uses these videos as a case study to examine the limits and potential of popular music’s articulation of popular and populist politics. Though both terms encompass what is “widely favoured”, populism includes discourses which construct “the people” pitted against “an elite”. Past research has shown how popular music can articulate subversive politics, though these do not detail what that subversion means and how it is articulated. This paper uses specific examples to demonstrate how musical sounds, lyrics and images articulate populist and popular politics. From a corpus of over 100 videos, a typical example is analysed employing social semiotics. It is found that popular music has the potential to contribute to the public sphere, though its limits are also exposed.
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Tolstichin, Elena. "Between the Lines of a Reformed Engraving by Hendrick Goltzius (Zwischen den Linien einer reformierten Druckgrafik: Hendrick Goltzius’ Moses mit den Gesetzestafeln (1583))." Daphnis 45, no. 1-2 (April 20, 2017): 227–49. http://dx.doi.org/10.1163/18796583-04502011.
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Why did Hendrick Goltzius use three Roman Catholic engravings for the design of his Reformed Moses with the Tables of the Law (1583)? This article seeks to answer that question by analyzing the adaptation of the engravings. It shows the artist’s endeavor of creating a Reformed Protestant engraving and legitimizing his art and method through the Scriptures. Furthermore, explanations for Goltzius’s use of his models will be presented, while one of them identifies the reference to a specific engraving as a strategy of artistic subversion. Der vorliegende Beitrag geht der Frage nach, warum gerade drei katholische Stiche Hendrick Goltzius beim Entwurf der reformierten Druckgrafik Moses mit den Gesetzestafeln (1583) als Vorlagen dienten. Dafür wird zunächst deren Adaption analysiert. Hierbei wird deutlich, dass der Künstler sich um die Gestaltung eines reformierten Stichs bemüht und gleichzeitig seine Technik und Kunst biblisch legitimiert. Anschließend werden Erklärungen für die Verwendung von Vorlagen vorgestellt, darunter eine, die in dem Rekurs auf einen der drei Stiche eine subversive künstlerische Strategie erkennt.
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Coelho, Maria Luísa. "Family portrait." Diacrítica 34, no. 2 (July 31, 2020): 92–106. http://dx.doi.org/10.21814/diacritica.566.
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Helena Almeida (1934-2018) is one of the most interesting and relevant artists in Portuguese contemporary art, having produced an oeuvre of great integrity and consistency, in which the body of the artist and processes of self-representation (always in an ambivalent, subversive and transgressive relation with that same art tradition) took centre stage. Taking the work Family portrait (1979) as its starting point, this article will explore the relation Almeida had with the familiar, be it in personal, artistic or national terms, as all these dimensions of the concept cannot be dissociated from each other when we look at this artist’s oeuvre.
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Castellano, Carlos Garrido. "Emma Wolukau-Wanambwa." Nka Journal of Contemporary African Art 2020, no. 47 (November 1, 2020): 68–81. http://dx.doi.org/10.1215/10757163-8719656.
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This article explores the capacity of visual arts to deal with transnational, multidirectional processes of remembering and spatial redefinition. Through analyzing two sets of work by Emma Wolokau-Wanambwa that address the tradition of formal art training at Makerere University and the aftermaths of the Second World War in Africa, respectively, the article touches on issues of art education, the production of historical meaning, and the role of cultural institutions in Uganda. It also examines the complex entanglement between colonial legacies and postcolonial and neoliberal systems of value, revealing the value of artistic research to reveal subversive alternatives to those articulations.
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Isto, Raino. "“I Lived without Seeing These Art Works”: (Albanian) Socialist Realism and/against Contemporary Art." ARTMargins 10, no. 2 (June 2021): 29–49. http://dx.doi.org/10.1162/artm_a_00291.
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Abstract This article looks closely at the inclusion of Albanian Socialist Realism in one of renowned Swiss curator Harald Szeemann's last exhibitions, Blood & Honey: The Future's in the Balkans (Essl Museum, Vienna, 2003). In this exhibition, Szeemann installed a group of around 40 busts created during the socialist era in Albania, which he had seen installed at the National Gallery of Arts in Tirana. This installation of sculptures was part of an exhibition entitled Homo Socialisticus, curated by Gëzim Qëndro, and Szeemann deployed it as a generalized foil for “subversive” postsocialist contemporary art included in Blood & Honey. The Homo Socialisticus sculptures occupied a prominent place in the exhibition both spatially and rhetorically, and this article examines how we might read Blood & Honey—and the socialist past in general—through Szeemann's problematic incorporation of this collection of works in one of the key Balkans-oriented exhibitions staged in the early 2000s. The article argues that understanding how Szeemann misread—and discursively oversimplified—Albanian Socialist Realism can help us see not only the continued provincialization of Albania in the contemporary global art world, but more importantly the fundamental misunderstanding of Socialist Realism as a historical phenomenon and a precursor to contemporary geopolitical cultural configurations
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Schulz, Cynthia. "Between surrealism and politics: An exploration of subversive body arts in 1980s East German underground cinema." Punk & Post-Punk 00, no. 00 (July 9, 2021): 1–20. http://dx.doi.org/10.1386/punk_00104_1.
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This article discusses the underground cinema of the German Democratic Republic during the 1980s in regard to its contributions to the arts and the avant-garde. While scholars including Claus Löser and Katrin Frietzsche have contributed greatly to the remembrance of the East German underground cinema, its influences have been disregarded by film studies, not least within the anglophone field. As a result, little to no research has been conducted regarding its contributions to the avant-garde or through the scope of other art movements as the political aspect continues to be emphasized. This article draws upon multiple art developments such as dada, surrealism, performance and body art as well as Eastern European-specific movements. Therefore, it evaluates how the East German underground interprets those influences and further contributes to them. Significant works by Cornelia Schleime, Gabriele Stötzer, Thomas Frydetzki and Tohm di Roes are subject to analyses to reveal anarchist feminist tendencies and surrealism with anarchist aspects. It concludes that the East German underground must be seen as a contribution to the less-researched necrorealism as an art movement paralleling the constitutional socialist realism. As such, political implications cannot be subtracted altogether but shall rather be viewed alongside the emergence of anarchist surrealism during the Cold War.
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Pelikan, Egon. "Uncovering Mussolini and Hitler in Churches: The Painter's Ideological Subversion and the Marking of Space along the Slovene-Italian Border." Austrian History Yearbook 49 (April 2018): 207–37. http://dx.doi.org/10.1017/s0067237818000164.
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This study analyzes the phenomenon of church paintings as subversive visual representations of Fascism and as an act of systematic rebellion against Fascist “ideological marking of space.” Slovene Expressionist painter and sculptor Tone Kralj's (1900−75) paintings functioned as ideological markers of national territory. He painted churches along the ethnic border as it was imagined by the Slovene community, delineating it with visual symbols of anti-Fascism and anti-Nazism. Kralj's undertaking can thus be interpreted as an instance of systematic “subversive coverage” of an ethnically exposed borderland with church paintings. Even today, his artistic “delineation” of the then-disputed ethnic border is a marking phenomenon that cannot be found anywhere else in Europe. If one of the most important authorities on Fascist ideology in Italy, Emilio Gentile, considers Fascist ideology to be a form of political religion and a modern manifestation of the sacralization of politics, then Tone Kralj's church paintings could be regarded as an instance of systematic introduction of the political and ideological into the religious context. Perhaps the most ingenious feature of Kralj's ecclesiastical art is his fusion of Catholicism with the Slovene national idea for the purpose of ideologically marking and promoting anti-Fascism and anti-Nazism as well as Slovene nationalism and Slovene irredentism in the Julian March.
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Jeffery, Hannah, and Hannah-Rose Murray. "“A Colossal Work of Art”: Antislavery Methods of Visual Protest From 1845 to Today." Journal of Modern Slavery 4, no. 2 (December 2018): 121–42. http://dx.doi.org/10.22150/jms/smzr9972.
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In 1967, the faces of black antislavery figures were woven into the fabric of the urban US environment to showcase radical black narratives and empower segregated black communities. Murals depicting the faces of Frederick Douglass, Nathaniel Turner and Ida B. Wells lined the streets alongside visualizations of self-emancipated figures slashing chains and unshackling bodies. Although these 1960s murals visualized subversive antislavery narratives in the streets for the first time, the cultural form of black protest murals was not new. In this paper, we trace the visual lineage of antislavery protest from the nineteenth century panorama to the modern antislavery mural.
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Curtis, Gerard, and Heather McLeod. "Tradition and the contemporary collide: Newfoundland and Labrador art-education history / Le choc de la tradition et du contemporain : histoire de l’éducation artistique à Terre-Neuve-et-Labrador." Canadian Review of Art Education / Revue canadienne d’éducation artistique 46, no. 1 (January 29, 2019): 37–43. http://dx.doi.org/10.26443/crae.v46i1.74.
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Abstract: Newfoundland and Labrador, Canada, is a province proud of its historical traditions. Yet, these values are, at times, in conflict with contemporary global culture. The province’s socio-political and cultural struggles and successes, and the impact of an ongoing boom and bust cycle in resource development, are echoed both in the history of art education and in its artistic evolution. From modernism and post modernism, and DBAE to VCAE, the development of the Visual Art Program at the Grenfell Campus of Memorial University in Corner Brook provides a cautionary tale on the vagaries of promoting artistic traditionalism over contemporary meta-modernism, and the role of art in the classroom in reflecting global society at large. With a growingly mixed population in the province, art education plays a significant role in a contemporary dynamic that can challenge a self-promoted geographic and historical myopia. Art in Newfoundland and Labrador increasingly acts as a suturing mechanism and reflective device, through which to look at these tensions, allowing the art educator to play a somewhat subversive role to the larger historical, political, and social agenda. Yet art education and art have also been used as a tool to serve various shifting political agendas. Negotiating this terrain as an art educator can be difficult; tradition and the contemporary collide, yet the dynamic of this play has produced some amazing results culturally. Walking this tightrope provides a model for a newer generation who have to be increasingly multi-cultural and internationalist in their views.Keywords: Traditionalism; Contemporary Meta-modernism; Historical, Political, and Social Agenda; Subversive Role of Art Educator; Multi-cultural.Résumé : Terre-Neuve-et-Labrador est une province canadienne fière de ses traditions historiques. Il arrive cependant que ses valeurs soient en conflit avec la culture générale moderne. Les luttes et réalisations sociopolitiques et culturelles dans cette province, ainsi que la baisse brutale de la mise en valeur des ressources, trouvent écho dans l’enseignement des arts et l’évolution artistique de la province. Du modernisme au postmodernisme, et de l’éducation artistique axée sur les disciplines à l’éducation artistique fondée sur la culture visuelle, l’élaboration du Programme d’arts visuels sur le campus de Grenfell de l’Université Memorial de Corner Brook, constitue un récit édifiant des aléas de la promotion du traditionalisme artistique vis-à-vis le métamodernisme contemporain, et du rôle de l’art en salle de cours comme reflet de la société dans son ensemble. Compte tenu de la diversité croissante de la population de la province, l’éducation artistique joue un rôle prépondérant dans une dynamique moderne susceptible de s’opposer à une myopie géographique et historique auto-promue. À Terre-Neuve-et-Labrador, l’art agit de plus en plus comme un mécanisme de suture et un dispositif de réflexion permettant d’observer ces tensions et confiant à l’éducateur un rôle un tant soit peu subversif vis-à-vis le programme historique, politique et social. Pourtant l’éducation artistique et l’art ont aussi servi d’outils à certaines visées politiques en mouvance. Il peut être difficile pour un éducateur en art d’évoluer sur un tel terrain. Si tradition et modernisme s’entrechoquent, cette dynamique de jeu a, dans certains cas, abouti à d’étonnants résultats sur le plan culturel. Naviguer sur cette corde raide offre un modèle à une nouvelle génération qui se doit d’être davantage multiculturelle et internationaliste. Mots-clés : Traditionalisme, métamodernisme contemporain.
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Yilmaz, Ayşe Nahide. "The Image of Politics in Art: Projecting the Oppression in Turkish Art Scene." European Journal of Multidisciplinary Studies 6, no. 2 (June 10, 2017): 339. http://dx.doi.org/10.26417/ejms.v6i2.p339-339.
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In the 1970s, Turkey's artistic milieu was mostly influenced by socialist realistic painters who demonstrated political criticism with a figurative understanding. The oppression that came with the coup d'état of September 12, 1980 aimed at a depoliticized society, and artists were then politically diverted to implicit and indirect ways. While direct intervention from the military or the civil government under its control rarely came, the artists and art institutions have even ended some kind of auto censorship. In a demoralized and depoliticized cultural environment, the works that embodied the 'social ghost' have both raised emotional and reactive objections and ironically created a sense of guilt in the audience. Being a spectator meant to be a victim, a judge, a witness, or maybe -in fact- all of these at once. The artist imagination reproducing the notions of authority and power in silenced societies has made conspicuous human rights violations, tortures, and executions through works of art. Artists, who counted art as a vehicle to change the world, have provided a deep dimension in art environment with a wide variety of knowledge and skills right along with new techniques and materials. In this work, there shall be many examples of artists and works of art that combine 'art politics' and 'political art' as a single thing, which goes beyond traditional approaches to art and politics in the intense and subversive political atmosphere of the 1980s in Turkey.
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Davy, Jack. "The “Idiot Sticks”: Kwakwaka'wakw Carving and Cultural Resistance in Commercial Art Production on the Northwest Coast." American Indian Culture and Research Journal 42, no. 3 (July 1, 2018): 27–46. http://dx.doi.org/10.17953/aicrj.42.3.davy.
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“Idiot sticks” was a derogatory term used to describe miniature totem poles made as souvenirs for white tourists by the artists of the Kwakwaka'wakw people of British Columbia in the early twentieth century. Tracking the post-contact history of the Kwakwaka'wakw using a combination of historical accounts and interviews with contemporary Kwakwaka'wakw artists, this article explores the obscured subversive and satirical nature of these objects as a form of resistance to settler colonialism, and in doing so reconsiders who really could be considered the “idiot” in this exchange.
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Biegon, Glenn. "Caution—Objects Are Closer Than They Appear: Perspectively Inverted Pseudoscopic Images behind Accelerated Space." Leonardo 38, no. 3 (June 2005): 245–53. http://dx.doi.org/10.1162/0024094054029029.
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Perspective inversion reverses the flow of naturalistic pictorial space, creating a disorienting, anti-naturalistic sense of space. Inverted perspective's subversive power appears limited, however, given that no art-historical examples depict fully inverted objects in systematically inverted “unlimited spaces,” such as landscapes. The author addresses this limitation through analysis of “converse” and “pseudoscopic” 3D images—Charles Wheat-stone's two paradigms for inverting binocular depth. Wheatstone's inverted imagery proves geometrically identical to 3D art-historical precedents that conceal their perspective inversion: namely, relief sculpture, set design and architecture employing three-dimensionally “forced” perspective. As hinted by depth-inverted stereograms, linear perspective employed together with reversed overlapping cues systematically inverts unlimited space in both 2D and 3D pictures.
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Honig, Or Arthur, and Ido Yahel. "The art of “subversive conquest”: How states take over sovereign territories without using military force." Comparative Strategy 36, no. 4 (August 8, 2017): 293–308. http://dx.doi.org/10.1080/01495933.2017.1361200.
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Smith, Douglas. "The Great Prehistoric Art Swindle: André Breton and Palaeolithic Cave Painting." Paragraph 44, no. 3 (November 2021): 364–78. http://dx.doi.org/10.3366/para.2021.0376.
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At Pech Merle in 1952, André Breton provoked a controversial incident by damaging a Palaeolithic wall painting that he suspected to be a fake. This episode provides an insight into the contested status of prehistoric sites in post-war France and the theoretical and ideological implications of their cultural mobilization. Such sites allowed for a disavowal of wartime trauma and supported the reaffirmation of French national identity and its civilizing mission by locating the birthplace of human culture on French soil. Yet their extreme age also threw into relief the relative fragility of the recently invented nation-state. Breton's vandalism cast doubt on the models of cultural progress and pre-eminence that sought to instrumentalize prehistoric art but failed to appreciate the subversiveness of its ‘deep’ history. Ironically, however, Breton's scepticism ultimately enhanced the subversive dimension of archaeology by allowing it to demonstrate the authenticity and age of cave art.
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Joanna Ostrowska, Joanna Ostrowska. "Festiwale – święta sztuki czy projekty intelektualne." Człowiek i Społeczeństwo 33 (June 15, 2012): 179–87. http://dx.doi.org/10.14746/cis.2012.33.11.
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The article tries to analyze the phenomenon of the growing numbers of artistic festivals with an intellectual agenda. In the author's opinion the very appearance of artistic festivals in the beginning of the 20th Century was already an intellectual project of healing war wounds through art, which later created the background for the political project of a common union of European countries. Contemporary artistic festivals are as much presentations of different kinds of art as they are intellectual projects that try to introduce various issues: urban studies, ethnical diversity or results of scientific research. Artistic festivals are analyzed here as cultural performances (in order to be presented, issues undertaken by the festivals need to be performed) that have subversive, transformative and normative power. From the viewpoint of performance studies and aesthetics of performativity, contemporary festivals crushed the division between art and events that are part of everyday, "real" life.
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Grove, Laurence, Anne Magnussen, and Ann Miller. "Editorial." European Comic Art 13, no. 1 (March 1, 2020): v—ix. http://dx.doi.org/10.3167/eca.2020.130101.
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The articles in European Comic Art 13.1 all allude to the capacity of comics for demystification and disruption. This may take the form of a mistrust of canons; a retelling of the lives of painters that subtly, or less subtly, debunks the mythology of the great artist; an assault on the sensibilities of those who cling to a male-defined idealisation of the female body; a refusal of the illusion of depth in favour of a more complex mapping of connections across surfaces; or the subversive appropriation of a genre previously based on colonial assumptions.
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Manghani, Sunil. "The Art of Paolo Cirio: Exposing New Myths of Big Data Structures." Theory, Culture & Society 34, no. 7-8 (October 19, 2017): 197–214. http://dx.doi.org/10.1177/0263276417732624.
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This article examines the work of internet activist and artist Paolo Cirio, whose practice intersects with matters of copyright, privacy, transparency and corporate finance. His project Loophole for All, for example, exposes the practice of tax evasion in the Cayman Islands by counterfeiting Certificate of Incorporation documents. An important aspect of Cirio’s work is how he names himself in the process. Placed within our contemporary ‘data turn’, his work is framed critically in this article in terms of a ‘new structuralist’ account of culture and society. The article attends to the view that power increasingly comes through the algorithm, but argues that we risk reifying so-called generative rules, which may simply be algorithms out of sight. Cirio’s art practice helps focus on what it means to make a critique of contemporary and ubiquitous algorithm structures. As part of this, the article considers how ‘anonymity’ underlies subversive art practices of the 20th century and contemporary protest groups, but that this anonymity arguably undermines attempts to effect change.
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Wójtowicz, Ewa. "Mediateka Babel. YouTube jako temat, rama formalna i platforma sztuki." Artium Quaestiones 31, no. 1 (December 20, 2020): 171–89. http://dx.doi.org/10.14746/aq.2020.31.6.
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The text focuses on the specific features of the so-called 'cinematic turn' within the scope of visual culture emergent within the YouTube platform, particularly during its first, formative years. This turn takes place on the meta-level of the existing circulation of content enabled by YouTube, often being an autothematic reflection on this tool of cultural production. The vernacular aesthetics, a specific formal framework and a particular modus operandi of YouTube became the subject of artistic statements, sometimes in a form of subversive remix. Therefore I think of YouTube as a realm of art because of its meta-media practice that made the cinematic turn visible. It does not rely on straightforwardly understood production of (moving) images, but postproduction, as understood by Nicolas Bourriaud. Moreover, the cinematic turn taking place within YouTube is different from the one practised by the avant-garde of 20th century, due its being not “seeing” or “writing” (as Dziga Vertov understood montage) but rather “overwriting”, to use language more adequate to the described sphere of digital culture. Artists use YouTube as an open library, working with its resources, applying techniques such as postproduction, remix, re-contextualisation and appropriation. Therefore it becomes a multimedia library, a “Mediateca Babel” of a kind, to recall J. L. Borges' idea. The examples mentioned in the text are of a postproductional nature, such as to-camera-performance and subversive “overwriting” of contents enabled with the circulationism typical for social media. Equally important are the strategies of recognising the cultural framework of YouTube, in the context of 20th-century media art history, as well as the platform’s interface. Also, there is the issue of relations between vernacular creativity and the art system because of “capturing” the amateur-generated content and transferring it to mainstream artworld. These examples let me argue that the cinematic turn is a form of postproduction, which enables the hidden mechanisms behind the circulation of moving images in the overloaded global network. The cinematic turn in the context of YouTube does not mean that cinema and its language are at home within this platform. Also, the meta-artistic way of “making” platform art does not turn YouTube into “art platform” (as understood by Olga Goriunova). Nevertheless, platform art may happen in this context as a result of working with the cinematic turn in its vernacular aspect, which makes it possible to reveal its key features and move them to the meta-level.
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Niittynen, Miranda. "Interspecies Blendings and Resurrections: Material Histories of Disability and Race in Taxidermy Art." Canadian Journal of Disability Studies 9, no. 2 (July 30, 2020): 103–38. http://dx.doi.org/10.15353/cjds.v9i2.627.
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This paper analyzes the contemporary art practice of rogue taxidermy. Specifically, I look at the rogue taxidermy of Sarina Brewer, an artist who utilizes sensationalist aesthetics and representations found in historical sideshows alongside unconventional forms of taxidermy to critique historical and contemporary forms of body display. I discuss the material histories that informed and shaped the practice of taxidermy and how taxidermy was (and continues to be) bound up with a complex history of human and nonhuman animal exploitation. I analyze the interconnections between nonhuman animal taxidermy display and the historical preservation, study, and exhibition of postmortem human bodies in museums. The ethical implications of using nonhuman animal bodies as objects for political art entangle rogue taxidermy artists within the domination of nonhuman animals (alive and dead). The act of using postmortem nonhuman animal materials in artistic sculpture makes rogue taxidermy artists complicit in the history of modernity that used various bodies to outline “undesirable” racial and physiological variances. Furthermore, I analyze the subversive potential of Brewer’s sculptures to differently reconstruct sculptures of lusus naturae – from past representations – but, also, address the risky complexity of staging “monstrosity” in contemporary rogue taxidermy art. I conclude that the access and permission to place nonhuman animal bodies on display – from the outset – shows a normalization of human domination over nonhuman animal bodies, but argue that Sarina Brewer’s art, in various instances, critiques exploitation through multiple forms of body display.
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Savage, Roger W. H. "Reason, Action, and the Creative Imagination." Social Imaginaries 5, no. 1 (2019): 161–80. http://dx.doi.org/10.5840/si2019519.
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The exemplary value of individual moral and political acts provides a unique vantage point for inquiring into the role of the creative imagination in social life. Drawing on Kant’s concept of productive imagination, I argue that an act’s exemplification of a fitting response to a moral or political problem or crisis is comparable to the way that a work of art expresses the ‘thought’ or ‘idea’ to which it gives voice. The exercise of practical reason, or phronesis, is akin to the way that a work augments the practical field of our experiences in this respect. For, like a work of art, the act produces the rule to be followed by means of the example that it sets. Accordingly, I explain how the injunction issuing from the act can be credited to the way that the singular case summons its rule. The singular character of the injunction issuing from the act thus brings to the fore the relation between reflective judgment and this injunction’s normative value. The conjunction of reason, action, and the creative power of imagination offers a critical point of access for interrogating the normative force of claims rooted in individual acts. By setting reason, action, and imagination in the same conceptual framework, I therefore highlight the creative imagination’s subversive role in countering hegemonic systems and habits of thought through promoting the causes of social and political struggles.
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Giersdorf, Jens Richard. "Trio ACanonical." Dance Research Journal 41, no. 2 (2009): 19–24. http://dx.doi.org/10.1017/s0149767700000620.
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Despite Yvonne Rainer's subversive refusal to stageTrio Aas a spectacle, to have it represent or narrate social structures, or to engage with the audience in a traditional manner, the landmarks of canonization have all been put upon it. The Banes-produced 1978 film of Rainer dancingTrio Awas recently exhibited while the dance was performed live simultaneously by Pat Catterson, Jimmy Robert, and Ian White at the Museum of Modern Art,theinstitution that determines what constitutes important modernist and contemporary art in the United States and, indeed, the Western world. In conjunction with Rainer's famousNO Manifesto, Trio Aappears in nearly every publication on so-called postmodern dance and art. Moreover, the key documentary on postmodern danceBeyond the Mainstream—containingTrio A—is screened in most dance history courses when postmodern dance is discussed. As a result, the choreography became not only a staple on syllabi in dance departments but also in disciplines such as gender studies, film and art history, or communications. Even Susan Au'sBallet and Modern Dance, a conservative historical text utilized in many dance history classes, definesTrio Aas “one of the most influential works in the modern dance repertoire” (Au 2002, 155).
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MYERS, LINDSAY. "Meo's Fists – Fighting For or Against Fascism? The Subversive Nature of Text and Image in Giovanni Bertinetti's I pugni di Meo." International Research in Children's Literature 1, no. 1 (July 2008): 1–15. http://dx.doi.org/10.3366/e1755619808000069.
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During the 1920s and 1930s Italian children's literature was heavily influenced by fascist propaganda. Stories which celebrated patriotism, militarism and obedience appeared in great numbers as did biographies of Mussolini. Children's book illustrations also underwent stylistic changes becoming more statuary and geometric in accordance with the principles behind fascist architecture and propagandist art. Not all of the Italian writers and artists who ostensibly endorsed fascist ideologies, however, were entirely compliant with fascist dictates. Careful reading of some of the key works by writers and artists outwardly supportive of the regime reveals underlying subversive political ideologies, the majority of which have yet to be acknowledged. One of the ways in which writers and artists of the fascist period inscribed subversive ideologies in their works was by manipulating contemporary visual and verbal codes. This paper focuses on the dialectic of text and image in Giovanni Bertinetti's I pugni di Meo [Meo's fists], a children's fantasy, illustrated by the well-known artist, Attilio Mussino. Situating text and illustrations in their socio-political context, it discusses how these artists manipulated words and images to convey an ideology of moderation in the midst of excessive use and abuse of power in Italy in the 1930s.
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Dryden, Edgar A. "John Marr and Other Sailors: Poetry as Private Utterance." Nineteenth-Century Literature 52, no. 3 (December 1, 1997): 326–49. http://dx.doi.org/10.2307/2933998.
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John Marr and Other Sailors (1888) movingly figures Melville's sense of his own situation as an aging poet alienated from his social, political, and literary milieu. By may of a close reading of the individual poems, I show that poetry for Melville is a private, self-directed, and ironic art, one whose primary activity is an ironic elicitation of subversive latent meanings. In the face of the "vague reserve of heaven" and the "apathy of nature," and working with a deep distrust of public performance and the printed page, Melville as poet at once exposes and stubbornly, if privately and obscurely, celebrates the nature of the literary as such.
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Vasudevan, Krishnan. "Oppositional Designs: Examining How Racial Identity Informs the Critical Design of Art and Space." Communication, Culture and Critique 12, no. 1 (March 1, 2019): 90–109. http://dx.doi.org/10.1093/ccc/tcz001.
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AbstractThis study develops upon recent scholarship about subversive design that emerged in response to hegemonic structures such as capitalism, by introducing how racial identity informs disruptive design practices. Based upon a two-year ethnography with nine black artists during a period of racial unrest, this study presents how their experiences as black Americans informed distinctive, critical design dispositions. The participants’ deeply personal and labor-intensive design processes were both technical and political processes that involved intense prototyping, research and self-reflection. Their designs resulted in oppositional films, photography exhibits and paintings that contested racial metonymy through visceral and visual discourses that present black identities and histories within a more complex racial language. The participants also designed empathic spaces where oppositional discourses could take root and that supported communal healing, mourning and celebration. The ethnographic accounts of this study offer a meaningful way to engage and bridge scholarship about race, design and oppositional art.