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Art World (art + world)

Distribution by Scientific Domains
Humanities and Social Sciences66%

Selected Abstracts

Cultural Sovereignty in a Global Art Economy: Egyptian Cultural Policy and the New Western Interest in Art from the Middle East

CULTURAL ANTHROPOLOGY, Issue 2 2006
Jessica WinegarArticle first published online: 7 JAN 200
The post-1989 transformation of the Egyptian art world reveals the particular tenacity of colonial logics and national attachments in culture industries built through anticolonial nationalism and socialism. Tensions emerged between and among Western and Egyptian curators, critics, and artists with the development of a foreign-dominated private-sector art market and as Egyptian art begins to circulate internationally. This international circulation of art objects has produced rearranged strategies of governance in the cultural realm, collusions and conflicts between the public and private sector, and, most importantly, a new articulation of cultural sovereignty. [source]

Restoring landscapes: the authenticity problem

EARTH SURFACE PROCESSES AND LANDFORMS, Issue 13 2006
Isis Brook
Abstract Philosophical concerns about restoring landscapes often revolve around two, connected, issues. First is the idea that a restored landscape, even if it is a perfect replica, has lost some of its value. The claim might appeal to a break in the continuity of the landscape and that continuity is part of what is valuable. Alternatively, often in the case of natural landscapes, the appeal is that any human manipulation is inauthentic; here the analogy is sometimes made with the art world and the restoration is deemed a fake. The second problem highlighted in philosophical debates is that the greater the success of restoration projects, the more threatened natural landscapes become: any claim that something must be preserved in its pristine or historically layered state is undermined by the claim that it could be put back again. Initially I discuss two opposing potential responses to these claims: (1) that humans are part of nature and thus cannot be an alien dominating force outside of nature; and (2) that nature is itself a social construct. Neither of these positions is entirely satisfactory, but what they jointly reveal is the reality of our fluid and multifaceted relationship with the world. I then show that Elliot's claim of the additional value of pristine nature is actually not based on an inherent value, but is dependent on the human valuation of it. I propose an alternative that places the source of value in the thing itself and thus arrive at a positive role for restoration as the setting in train and guiding of positive relationships above and beyond their social or public amenity value to us. Copyright © 2006 John Wiley & Sons, Ltd. [source]

Domain Poisoning: The Redundancy of Current Models of Assessment through Art

INTERNATIONAL JOURNAL OF ART & DESIGN EDUCATION, Issue 3 2006
Tom 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]

Art-writing in the modern Maya art world of Chichén Itzá: Transcultural ethnography and experimental fieldwork

AMERICAN ETHNOLOGIST, Issue 1 2004
Quetzil E. Castañeda
ABSTRACT In this article I examine the modern Maya art world of Chichén Itzá, México. My ethnographic focus is the political history and technical and aesthetic development of the Pisté Maya art "tradition" that emerged within the transcultural contexts of the anthropological fascination with and touristic consumption of the Maya. I also describe the experimental ethnography project that was developed to study the transcultural dynamics of the Chichén art world. [source]

WINSLOW HOMER AND THE MECHANICS OF VISUAL DEADPAN

ART HISTORY, Issue 2 2009
JENNIFER A. GREENHILL
This essay argues for the central importance of the ,gag' to Winslow Homer's early paintings, made during the American Civil War. As his entrée into the New York art world in these years Homer creates a form of visual deadpan that spoke to the ,comical and coffinly' circumstances of the war, resonated with the methods of the period's controversial platform comedians, and answered the critical call for a ,higher sort of humor' that moved beyond the antics of the antebellum comic mode of the 1850s. [source]