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Contemporary Art (contemporary + art)
Selected AbstractsSURVEYING CONTEMPORARY ART: POST-WAR, POSTMODERN, AND THEN WHAT?ART HISTORY, Issue 4 2009DAN KARLHOLM This article looks at influential survey texts on world art history since c. 1980, and considers how they have dealt with the art nearest to them in time. I examine the terminology used, and problems of classification, periodization, and history writing at large. In order to describe how these texts struggle with the terms contemporary and postmodern, I focus on their treatment of conceptual art and two artists: Joseph Beuys and Cindy Sherman. The symbolic and economic consolidation of contemporary art during the last decade or so prompts me to establish a broader frame of understanding, linking it to constructions of the contemporary in the nineteenth century and to the idea of co-existing temporalities for art. [source] The Right Stuff in the Right Place: The Institution of Contemporary ArtCURATOR THE MUSEUM JOURNAL, Issue 1 2007Ian Wedde What does our ramble reveal about the institution of contemporary art? "Diversity" hardly seems an adequate word. [source] Creating Research Questions from Strategies and Perspectives of Contemporary ArtCURRICULUM INQUIRY, Issue 1 2001G. Thomas Fox This essay considers how strategies and perspectives from contemporary art can suggest new questions for educational research. Although arts-based research has become more prominent lately, the concern of this paper is that the arts have become used primarily as decorative features to educational research (to further illuminate, depict, and explain the ambiguities and complexities of educational practices, see Donmoyer 1997), rather than deeply moving or disorientating perspectives on education. Another stimulant for looking into contemporary art is the concern that education must focus more on the edges of what is understood, rather than on the centers (see, for example, Fox 1995). The essay uses examples to demonstrate how a number of themes from contemporary art can be interpreted to redirect our curiosity about educational practices, policies, and theories. The paper concludes that further consideration of contemporary art can move researchers to ask more varied questions, especially about the wisdom of our progressive, critical, or humanistic views of students and learning that we have built over this century. [source] Young People and Contemporary ArtINTERNATIONAL JOURNAL OF ART & DESIGN EDUCATION, Issue 3 2005Helene Illeris In this article empirical examples are used to connect theories about young people, contemporary art forms and learning. The first part of the article introduces the new forms of consciousness which, according to the youth researchers Birgitte Simonsen and Thomas Ziehe, characterize young people of today. In the second part, the qualities of contemporary art forms experienced by young people are connected to the theories of the French art critic Nicholas Borriaud regarding ,relational aesthetics'. Finally, the third part of the article discusses four preconditions for learning, which were experienced as positive by the young people included in the empirical material: ,the hook', ,the experience of otherness', ,social interaction', and ,meta-reflection'. [source] ,Download': ,Postcards Home' Contemporary Art and New Technology in the Primary SchoolINTERNATIONAL JOURNAL OF ART & DESIGN EDUCATION, Issue 1 2005Steve Herne ,Postcards Home' using photography, scanning, digital image manipulation, text and colour printing was the third ,Download' project devised by the education department of the Whitechapel Art Gallery, London, England. It was led by artist Laurie Long with teachers and pupils from Pooles Park primary school in Islington, an inner city borough in North London. Based on the production of a postcard featuring an image of personal significance, the children were involved in exploring and constructing their own and others' identities whilst developing their technology skills in creative ways. The project raises interesting questions about the applicability of contemporary art practices to the primary classroom. The research is based on participant observation and includes the voices of the artist and teachers involved. [source] Motivation and Meaning in Contemporary Art: From Tate Modern to the Primary School ClassroomINTERNATIONAL JOURNAL OF ART & DESIGN EDUCATION, Issue 3 2001Jacqueline Dear ,Art Now in the Classroom', was a joint venture between Goldsmiths College Education Department, Tate Modern and six Primary Schools in and around the London area (Sandhurst, Pilgrim's Way, Hawesdown, Hawkesmoore, Lauriston and Myatt Garden.) It ran from September to November 2000, beginning initially with the placement of two Goldsmiths students at each school then continuing with school visits to Tate Modern, and four Fridays spent working in the classroom, culminating in an exhibition at Tate Modern where the children from all six primary schools got to see their own work publicly displayed. This paper is an account of the work produced by the children from Sandhurst Primary School and an assessment of both the educational opportunities it provided for the primary classes involved and for the Goldsmiths students involved. The aims of the project were to demonstrate effective ways to work collaboratively with contemporary art, to support the development of teaching strategies at KS2 and KS3 and to offer possible approaches for working with contemporary material in the classroom. [source] The Scar of Visibility: Medical Performances and Contemporary ArtTHE JOURNAL OF POPULAR CULTURE, Issue 2 2008Julie Goolsby No abstract is available for this article. [source] Boston Institute of Contemporary ArtARCHITECTURAL DESIGN, Issue 6 2007Jayne Merkel Abstract Perched on the edge of a wharf overlooking downtown Boston, Diller Scofidio + Renfro's new Institute of Contemporary Art takes advantage of its strange dramatic site, providing useful, unusually provocative spaces for the various arts it was built to house. While it is not surprising that Diller and Scofidio, who are artists themselves, were able to accommodate the complex programme imaginatively, their new firm's handling of the site in their first freestanding American building is impressive indeed. Jayne Merkel explains how the interiors are individualised and energised by the embrace of the harbour in a scheme that minimises the location's drawbacks and turns a visit into an art experience in its own right. Copyright © 2007 John Wiley & Sons, Ltd. [source] The Living City Survival Kit: a portrait of the architect as a young manART HISTORY, Issue 4 2003Simon Sadler This article discusses an image published on the occasion of the Living City exhibition held at the Institute of Contemporary Arts, London, in 1963. The image, here referred to as Living City Survival Kit, is ascribed to Warren Chalk, and it was produced within the milieu of the Archigram group. In a manner akin to Pop Art, the image represents the modernization of everyday life. Unlike Pop Art, it is about architecture; and unlike traditional architectural images, this image contains no buildings. Instead, the image draws attention to the invisible complement of architecture , how it is used, and how it shapes the experience of the user. The architect, it appears, can no longer impose legitimate order, nor claim genderless, objective distance from the subject of architecture. The image is ultimately concerned with the construction of the architect himself, to the point that it can be read as a self-portrait. [source] Contemporary art and archaeology: reflections on a relationshipTHE JOURNAL OF THE ROYAL ANTHROPOLOGICAL INSTITUTE, Issue 3 2007Yannis Hamilakis First page of article [source] The Right Stuff in the Right Place: The Institution of Contemporary ArtCURATOR THE MUSEUM JOURNAL, Issue 1 2007Ian Wedde What does our ramble reveal about the institution of contemporary art? "Diversity" hardly seems an adequate word. [source] Creating Research Questions from Strategies and Perspectives of Contemporary ArtCURRICULUM INQUIRY, Issue 1 2001G. Thomas Fox This essay considers how strategies and perspectives from contemporary art can suggest new questions for educational research. Although arts-based research has become more prominent lately, the concern of this paper is that the arts have become used primarily as decorative features to educational research (to further illuminate, depict, and explain the ambiguities and complexities of educational practices, see Donmoyer 1997), rather than deeply moving or disorientating perspectives on education. Another stimulant for looking into contemporary art is the concern that education must focus more on the edges of what is understood, rather than on the centers (see, for example, Fox 1995). The essay uses examples to demonstrate how a number of themes from contemporary art can be interpreted to redirect our curiosity about educational practices, policies, and theories. The paper concludes that further consideration of contemporary art can move researchers to ask more varied questions, especially about the wisdom of our progressive, critical, or humanistic views of students and learning that we have built over this century. [source] SAATCHI, SENSATION, AND WHY CONTEMPORAR Y ART SHOULD NOT BE CONCEDED TO THE LEFTECONOMIC AFFAIRS, Issue 2 2002Bunny Smedley Commentators from the ,Right' have contributed little to ,is-it-art' discussions. The Saatchi Sensation exhibition of 1997 offers the opportunity to explain what contribution anti-socialist, anti-collectivist writers might make. In particular, they should be honest in their response to contemporary art rather than treating it as a no-go area. [source] The Hidden Politics of Administrative Reform: Cutting French Civil Service Wages with a Low-Profile InstrumentGOVERNANCE, Issue 1 2007PHILIPPE BEZES The article addresses internal and hidden politics of changes in bureaucracies by focusing on the introduction and use of policy instruments as institutional change without radical or explicit shifts in administrative systems. Beneath public administrative reforms, it examines the use of "low-profile instruments" characterized by their technical and goal-oriented dimension but also by their low visibility to external actors due to the high complexity of their commensurating purpose and the automaticity of their use. The core case study of the paper offers a historical sociology of a technique for calculating the growth of the French civil service wage bill from the mid-1960s to the 2000s. The origins, uses, and institutionalisation of this method in the French context are explored to emphasize the important way of governing the bureaucracy at times of crisis through automatic, unobtrusive, incremental, and low-profile mechanisms. While insisting on the salience of techniques for calculating, measuring, classifying, and indexing in the contemporary art of government, it also suggests the need for observing and explaining "everyday forms of retrenchment" in bureaucracies. [source] Domain Poisoning: The Redundancy of Current Models of Assessment through ArtINTERNATIONAL JOURNAL OF ART & DESIGN EDUCATION, Issue 3 2006Tom Hardy With the National Foundation for Educational Research concluding that schools which include Contemporary Art Practice (CAP) in their curriculum add significant value to their students' art experience, [1] and at a time when much of the discussion around contemporary art questions the value of the art object itself, this article addresses the question: how are we to engage students with the contemporary and, at the same time, make value judgments of their own work? And, while the professional fine art world subscribes increasingly to the ,rhizomatic' [2] template of art processes, how do we square this with current assessment criteria which require that students produce work where the preparation and finished product occupy separate domains and rely on ,procedures and practices that reach back to the nineteenth century'? [3] By way of a postscript to the inconclusive findings of the Eppi-centre art and design review group [4], this article will also address what we have lost in the drive for domain-based assessment and how to regain some of the ground lost since the introduction of Curriculum 2000. [source] Motivation and Meaning in Contemporary Art: From Tate Modern to the Primary School ClassroomINTERNATIONAL JOURNAL OF ART & DESIGN EDUCATION, Issue 3 2001Jacqueline Dear ,Art Now in the Classroom', was a joint venture between Goldsmiths College Education Department, Tate Modern and six Primary Schools in and around the London area (Sandhurst, Pilgrim's Way, Hawesdown, Hawkesmoore, Lauriston and Myatt Garden.) It ran from September to November 2000, beginning initially with the placement of two Goldsmiths students at each school then continuing with school visits to Tate Modern, and four Fridays spent working in the classroom, culminating in an exhibition at Tate Modern where the children from all six primary schools got to see their own work publicly displayed. This paper is an account of the work produced by the children from Sandhurst Primary School and an assessment of both the educational opportunities it provided for the primary classes involved and for the Goldsmiths students involved. The aims of the project were to demonstrate effective ways to work collaboratively with contemporary art, to support the development of teaching strategies at KS2 and KS3 and to offer possible approaches for working with contemporary material in the classroom. [source] Picturing Theology: A Primer on Early Christian ArtRELIGION COMPASS (ELECTRONIC), Issue 7 2010Lee M. Jefferson For the religionist, the benefits of delving into early Christian art are quite tangible. Images from different eras of Christian history elucidate significant developments in the tradition, greatly enhancing the understanding of theological and historical movements. Christian art is a useful and effective medium to shed light on different aspects of Christian history, as students and observers can readily witness and make connections between images and architecture created centuries ago to more contemporary art. The study of Christian art is a truly interdisciplinary endeavor that yields positive results. However, it is important to understand the origins and development of the Christian visual tradition and to review the existing scholarship in the field. Christian art did not arrive ex nihilo; it derived from the rich tapestry of the existing visual language in antiquity which included influences from outside Christianity. In this essay, I will trace the development of early Christian art and demonstrate that Christian images arose from their Greco-Roman environment. The study of early Christian art is useful in recognizing how art and imagery conveyed theological concepts and reflected historical circumstances pertinent to Christian origins. The development of a Christian visual language testifies to the larger human desire to see and witness elements of faith. To ,see' God with the eyes of the spirit, early Christians wanted to see their faith in paint, glass, gold and stone; a desire that is not ,early' or ,modern' but timeless. [source] PHENOMENOLOGY AND INTERPRETATION BEYOND THE FLESHART HISTORY, Issue 4 2009AMANDA BOETZKES This article explores the ethical questions surrounding the phenomenological approach to interpretation in art history. It addresses contemporary art, from postminimalist sculpture to installation. Although the risk of phenomenology is that it merely confirms and reproduces the viewer's perceptual expectations, in fact, on a deeper level, the notion of the ontological intertwining of the viewer and the artwork demands a receptive stance in the face of art. Through an investigation of the notions of embodiment, intentionality, and mode of confrontation, I suggest that phenomenology not only mediates a trenchant understanding of the perceptual experience of the artwork, it is predicated on an acknowledgement of the artwork's alterity from interpretation. In this way, it invites a consideration of the linguistic malleability implicit in the fleshly chiasm that binds the viewer to the artwork. [source] SURVEYING CONTEMPORARY ART: POST-WAR, POSTMODERN, AND THEN WHAT?ART HISTORY, Issue 4 2009DAN KARLHOLM This article looks at influential survey texts on world art history since c. 1980, and considers how they have dealt with the art nearest to them in time. I examine the terminology used, and problems of classification, periodization, and history writing at large. In order to describe how these texts struggle with the terms contemporary and postmodern, I focus on their treatment of conceptual art and two artists: Joseph Beuys and Cindy Sherman. The symbolic and economic consolidation of contemporary art during the last decade or so prompts me to establish a broader frame of understanding, linking it to constructions of the contemporary in the nineteenth century and to the idea of co-existing temporalities for art. [source] | |||||||||||||