The Experts below are selected from a list of 186 Experts worldwide ranked by ideXlab platform
Janna Klostermann - One of the best experts on this subject based on the ideXlab platform.
-
Write Like a Visual Artist: Tracing Artists’ work in Canada’s textually mediated art world
Literacy and Numeracy studies, 2016Co-Authors: Janna KlostermannAbstract:This study examines the social organisation of Canada’s art world from the standpoint of practising Visual Artists. Bringing together theories of literacy and institutional ethnography, the article investigates the literacy practices of Visual Artists, making visible how Artists use written texts to participate in public galleries and in the social and institutional relations of the art world. Drawing on extended ethnographic research, including interviews, observational field notes and textual analyses, this study sheds light on the ways Visual Artists enact particular texts, enact organisational processes, and to enact the social and conceptual worlds they are a part of. Through the lens of Visual Artists, this study locates two particular texts – the Artist statement and the bio statement – in the extended social and institutional relations of the art world.
-
write like a Visual Artist tracing Artists work in canada s textually mediated art world
Literacy and Numeracy studies, 2016Co-Authors: Janna KlostermannAbstract:This study examines the social organisation of Canada’s art world from the standpoint of practising Visual Artists. Bringing together theories of literacy and institutional ethnography, the article investigates the literacy practices of Visual Artists, making visible how Artists use written texts to participate in public galleries and in the social and institutional relations of the art world. Drawing on extended ethnographic research, including interviews, observational field notes and textual analyses, this study sheds light on the ways Visual Artists enact particular texts, enact organisational processes, and to enact the social and conceptual worlds they are a part of. Through the lens of Visual Artists, this study locates two particular texts – the Artist statement and the bio statement – in the extended social and institutional relations of the art world.
Marisel Moreno - One of the best experts on this subject based on the ideXlab platform.
-
The “art of witness” in US Central American cultural production: An analysis of William Archila’s The Art of Exile and Alma Leiva’s Celdas
Latino Studies, 2017Co-Authors: Marisel MorenoAbstract:US Central Americans are destabilizing, reconceiving, and revitalizing the US Latina/o canon, and in doing so, they are forcing us to reconsider hegemonic ideas about Latinidad. The cultural production of Latinos/as of Central American descent has engaged in a critical denunciation of the violence that characterizes not only the history, but also the current situation, of the Central American isthmus. This essay examines the strategies used by US Central American poet William Archila and Visual Artist Alma Leiva to (re)construct the past and memorialize the victims of violence across Central America. I argue that Archila’s poetry collection The Art of Exile and Alma Leiva’s installation-photography series Celdas are examples of the “art of witness.” As such, their works play a key role in the reconstruction of Central American collective memory from the diaspora.
Erik Rietveld - One of the best experts on this subject based on the ideXlab platform.
-
Situating the Embodied Mind in a Landscape of Standing Affordances for Living Without Chairs: Materializing a Philosophical Worldview
Sports Medicine, 2016Co-Authors: Erik RietveldAbstract:Sitting too much is unhealthy, but a widespread habit in many societies. Realizing behavioral change in this area is hard. Our societies promote being seated via the way its places are structured: they are filled with chairs for example. How can we make healthier environments that invite people to move around more? This article shows how philosophical research in the area of embodied/enactive cognitive science let to a built vision for the office of the future, of 2025. Multidisciplinary studio RAAAF [Rietveld Architecture-Art-Affordances] and Visual Artist Barbara Visser built this world without chairs, titled The End of Sitting. This large rock-like landscape integrates many affordances for standing. Affordances are the possibilities for action provided by the environment. This landscape of standing affordances allows people to work standing while being supported by the material structure of the environment. This unorthodox working landscape is both an enactive art installation and the materialization of a philosophical worldview that understands people as embodied minds situated in a landscape of affordances. It stimulates reflection on the way built environments can naturally invite more active and healthy behavior.
Anamaria Tomiuc - One of the best experts on this subject based on the ideXlab platform.
-
branding in the art world the contemporary Visual Artist
Journal of Media Research - Revista de Studii Media, 2015Co-Authors: Anamaria TomiucAbstract:IntroductionIn the world of mass consumption, art itself has become a commodity. The history of contemporary art is now written depending on art's integration in the art market while its relation to its audience gets to be highly influenced by this market. We are now facing a new type of reception of the contemporary art that is becoming more and more popular, while the success associated with the art world gets to be similar (on a reduced scale, though) to that associated with other cultural industries. Artists have become celebrities; the art world itself is extremely spectacular, while both insiders and outsiders are strongly fascinated by its aura. For example, Damien Hirst's retrospective exhibition held in Tate Modern London in 2012 has been the most popular solo show in the history of the institution, attracting record-breaking visitor numbers, as well as Jeff Koons' retrospective at Whitney Museum of American Art in 2014, which was the most visited exhibition in 83 years of museum existence, or that of the same Artist held at Centre Pompidou in Paris in 2014-2015 which reached 112000 visitors in its first 17 days. In this context, numerous press clips, magazine articles, TV documentaries and academic research try to investigate a series of issues related to this subject, by pointing out the spectacular character, the relation between contemporary art and market economy, particularities of the art world and the value of the art work, PR and marketing strategies and other more. Our interest in this context is related to the "branding" phenomenon that is associated with contemporary art, more precisely to the figure of the contemporary Artist. Andy Warhol, Damien Hirst, Tracey Emin, Jeff Koons, Richard Prince, Takashi Murakami are only some of the names that have been referred to as brands. In the same time, Larry Gagosian, Jay Jopling are called branded dealers, Charles Saatchi, Francois Pinault, Bernard Arnauld are seen as branded collectors, while Tate Modern, Guggenheim or MoMa are branded museums. Still, while the mentioned institutions have invested a lot in an institutional branding process, the Artists' branding is a consequence of the strategies that are marketing individual personalities as products and of the particular functioning of the art system. Consequently, the present article will question the celebrity status of contemporary Artists, the branding mechanisms integrated in the art system, the relationship between the celebrity status and that of a brand and the values associated with the contemporary Artists' brands. Two theoretical directions - the theory of the art worlds (Danto, 1964), (Bourdieau, 1998), (Dickie, 1975) (Becker, 2010), the institutional theory of art (De Duve, 1989), (Dickie G., 1984) - constitute the background for this research and provide the tools for the use of the brand term in connection with the figure of the contemporary Artist.The art world - a systemic networkWe consider that the world of art presents itself as a vast socio-economic systemic network. A.C. Danto is the first to give a definition to the philosophical notion of "the art world" that includes the communities of interpreters - critics, art curators, Artists and collectors - within galleries and museums to suggest that it is impossible to understand conceptual art without the help of this art world. G. Dickie's theory (Dickie G., 1975) states that a work of art becomes art only if it gets the status of potential candidate to the appreciation of the social institution called "the art world". Therefore, any artifact may become art as long as "the art world" decides to call it art: "The work of art, in its classifying meaning, is (1) an artifact, (2) a set of aspects which were given the status of candidate to appreciation by a person or persons acting in the name of a certain social institution (the art world). Returning several years later to the problem of the status of a work of art, Dickie (Dickie G. …
Saul Shapiro - One of the best experts on this subject based on the ideXlab platform.
-
writing the holes structural reflections of a Visual Artist
Lecture Notes in Computer Science, 2002Co-Authors: Saul ShapiroAbstract:The epistemology that can be found in structural computing holds promise as a foundation for digital Visual art. The fields of literature and art criticism and reception and communication theory have parallels with structural computing's call for structure as a first class object. The concept of authoring structure can then be applied to the field of Visual art. Using foundations taken from literary theory and theater montage, a theoretical scenario is proposed for constructing an authoring tool that can access and influence a changing, dynamic structure of a multimedia work of Visual art. The holes of a multimedia presentation - its changing structure - can be added to the domain of the author.
