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Other Artists (other + artists)

Distribution by Scientific Domains

Humanities and Social Sciences	60%

Selected Abstracts

Educating Art in a Globalizing World.

INTERNATIONAL JOURNAL OF ART & DESIGN EDUCATION, Issue 1 2006
The University of Ideas: A Sociological Case-study
In 1999, the Italian Arte Povera artist Michelangelo Pistoletto and other artists laid the foundations of The University of Ideas (UNIDEE), an exceptional international artist-in-residence programme with a strong ideological foundation. As a sociologist of culture I had the opportunity to do research in the huge organization for a month by doing participant observation, in-depth interviews and discourse analysis. In this article the educational programme of UNIDEE is interpreted in sociological terms. First of all it will be contextualized in the artistic work of Michelangelo Pistoletto through his concept of the mirror and his a-modern idea of ,The Minus Artist'. In the second part Pistoletto's artistic, political and economic movement Cittadellarte, in which UNIDEE is based, will be described. Finally UNIDEE will be analysed as a model for art education on the border of modernity attempting to redefine the position of art and of the artist in a globalizing world. [source]

The unsympathetic exemplar in Vasari's Life of Pontormo

RENAISSANCE STUDIES, Issue 1 2009
Sharon Gregory
In his biography of Jacopo Pontormo, Vasari was highly critical of two contrasting stylistic phases in the painter's career. Recent scholarship, concentrating on the (destroyed) frescoes in the choir of San Lorenzo, has concluded that Vasari was acting out of professional jealousy, or that he was attempting to obscure the frescoes' heretical content. This article compares his criticism of the San Lorenzo frescoes with that of Pontormo's earlier Passion cycle at the Certosa del Galluzzo, showing that these parallel passages must be understood in light of contemporary debates about literary and artistic imitation and ideal exemplars , debates whose themes pervade the 1568 edition of Vasari's Lives. Vasari's purpose in Pontormo's biography is to present an object lesson in the danger of an artist's slavish imitation of other artists whose style is not sympathetic with his own. [source]

,Don't save her', Sigmund Freud meets Project Pat: The rescue motif in hip-hop,

THE INTERNATIONAL JOURNAL OF PSYCHOANALYSIS, Issue 4 2008
Richard H. Fulmer
Freud originally explicated the dynamics of rescue wishes by describing men who fell in love with prostitutes. He saw this attempt at attachment as driven by the man's wish to repay his parents for giving him life. Many subsequent writers shift this emphasis, seeing rescue wishes as motivated by aggressive oedipal competition with the father. This article highlights the attachment aspects of Freud's original conception and traces how writers in the last three decades use the family romance rather than Oedipus as a model to view rescue wishes as having a more tender aspect. Rescue wishes are especially characteristic of the developmental stage of young adulthood. They at once attempt to repay the parental debt the young adult feels and serve as practice for the vicissitudes of the couple bond and the benign sacrifices of parenthood. Popular culture contains many vivid examples of Freud,'s original description of the rescue-motif. A detailed examination of the rap song, Don't save her, demonstrates all the elements of Freud's original conception and the interpersonal risks of the rescue relationship. Three additional rap songs by other artists are briefly analyzed to show the extensive occurrence of the wish to rescue and its psychic and interpersonal dangers. [source]

AUTO-MATICITY: RUSCHA AND PERFORMATIVE PHOTOGRAPHY

ART HISTORY, Issue 5 2009
MARGARET IVERSEN
Ed Ruscha's ground-breaking 1963 book, Twentysix Gasoline Stations, consists of a series of photographs of gas stations along Route 66. Ruscha explained in an interview that he liked the word ,gasoline' and the random specificity of number 26. This paper argues that the title, formulated in advance, provided the nub of an instruction. Ruscha set himself a simple brief and understood the photographs as records of large-scale readymades. Depersonalization or ,auto-maticity' pervades the work in terms of the pre-set project, the readymade object, the car and the uninflected snapshots. Jeff Wall's positioning the work of Ruscha and other artists of the period in relation to ,non-autonomous', photojournalistic or amateur photography does nothing to capture this deliberately affectless, depersonalized use of the camera. The books are better understood if related to a certain reception of Marcel Duchamp in the United States which might be called the instructional and performative Duchamp, exemplified most clearly in his 3 Standard Stoppages. [source]

THE NORTH LOOKS SOUTH: GIORGIO VASARI AND EARLY MODERN VISUAL CULTURE IN THE KINGDOM OF NAPLES

ART HISTORY, Issue 4 2008
AISLINN LOCONTE
This article considers how the artist, writer and critic Giorgio Vasari (1511,1574) in his canonical text Le vite de più eccellenti pittori scultori e architettori characterized the artists working in the city of Naples and the monuments they produced. Through his own experience working in Naples (1544,45) Vasari acquired significant first-hand knowledge of the city and its artistic culture. His account of his experiences and those of other artists who worked in the city portrays Naples as lacking a dominant local artistic tradition and the support of active and interested patrons. With the intention of furthering the central themes and aims of his text, Vasari created a carefully constructed image of Naples as a rhetorical foil for the alleged superior virtue and strength of northern artists and urban centres where art and architecture played a key role in civic pride. [source]