Reimagining Canadian Art Practices and Art Collections

2021 ◽  
Vol 40 (1) ◽  
pp. 81-103
Author(s):  
Jenna Dufour ◽  
Sara Ellis ◽  
John Latour
Keyword(s):  
Art Collections ◽  
Canadian Art ◽  
Art Practices

Contemporary glocal: positioning a national mandate within a global context

2009 ◽  
Vol 34 (1) ◽  
pp. 40-45 ◽  
Author(s):  
Felicity Tayler ◽  
John Latour
Keyword(s):  
Information Technologies ◽  
Dynamic Environment ◽  
Disciplinary Boundaries ◽  
Global Context ◽  
Canadian Art ◽  
Art Practices ◽  
Other Information ◽  
Personal Use ◽  
Critical Discourses ◽  
Information Providers

Libraries and other information providers in the visual arts have had to adapt to an environment of changing research patterns, due to the widespread adoption of information technologies for personal use, the blurring of disciplinary boundaries, and shifting notions of geographical representation. As a small and independent arts organization, Artexte must navigate the obstacles and challenges raised by this dynamic environment. To do so, it has had to take into consideration the relevance of its original purpose – to focus on contemporary Canadian art within a national arts community. How can Artexte become more active in bringing Canadian art practices and critical discourses to larger, international networks? This article looks at the factors that define the current situation, and the ways in which Artexte bridges the gap between ‘local’ and ‘global’ contexts.

Screening Statues

2017 ◽  
Author(s):  
Steven Jacobs ◽  
Susan Felleman ◽  
Vito Adriaensens ◽  
Lisa Colpaert
Keyword(s):  
Contemporary Art ◽  
Three Dimensional ◽  
Interdisciplinary Approach ◽  
Film History ◽  
Two Dimensional ◽  
Artistic Practice ◽  
Experimental Art ◽  
Broad Scope ◽  
Art Practices ◽  
Extensive Reference

Sculpture is an artistic practice that involves material, three-dimensional, and generally static objects, whereas cinema produces immaterial, two-dimensional, kinetic images. These differences are the basis for a range of magical, mystical and phenomenological interactions between the two media. Sculptures are literally brought to life on the silver screen, while living people are turned into, or trapped inside, statuary. Sculpture motivates cinematic movement and film makes manifest the durational properties of sculptural space. This book will examine key sculptural motifs and cinematic sculpture in film history through seven chapters and an extensive reference gallery, dealing with the transformation skills of "cinemagician" Georges Méliès, the experimental art documentaries of Carl Theodor Dreyer and Henri Alekan, the statuary metaphors of modernist cinema, the mythological living statues of the peplum genre, and contemporary art practices in which film—as material and apparatus—is used as sculptural medium. The book’s broad scope and interdisciplinary approach is sure to interest scholars, amateurs and students alike.

Re-imagining Reproduction: Unsettling Metaphors in the History of Imperial Science and Commercial Surrogacy in India

Somatechnics ◽  
2015 ◽  
Vol 5 (1) ◽  
pp. 88-103 ◽  
Author(s):  
Kalindi Vora
Keyword(s):  
Assisted Reproductive Technologies ◽  
Reproductive Technologies ◽  
The Body ◽  
Body Parts ◽  
Colonial History ◽  
Women's Bodies ◽  
Commercial Surrogacy ◽  
Art Practices ◽  
History Of ◽  
Travel Industry

This paper provides an analysis of how cultural notions of the body and kinship conveyed through Western medical technologies and practices in Assisted Reproductive Technologies (ART) bring together India's colonial history and its economic development through outsourcing, globalisation and instrumentalised notions of the reproductive body in transnational commercial surrogacy. Essential to this industry is the concept of the disembodied uterus that has arisen in scientific and medical practice, which allows for the logic of the ‘gestational carrier’ as a functional role in ART practices, and therefore in transnational medical fertility travel to India. Highlighting the instrumentalisation of the uterus as an alienable component of a body and subject – and therefore of women's bodies in surrogacy – helps elucidate some of the material and political stakes that accompany the growth of the fertility travel industry in India, where histories of privilege and difference converge. I conclude that the metaphors we use to structure our understanding of bodies and body parts impact how we imagine appropriate roles for people and their bodies in ways that are still deeply entangled with imperial histories of science, and these histories shape the contemporary disparities found in access to medical and legal protections among participants in transnational surrogacy arrangements.

ARTISTIC EXPERIMENT OF POSTMODERN ART PRACTICES

2020 ◽  
Vol 155 (5) ◽  
pp. 1169-1174
Author(s):  
Anna CHYRVA
Keyword(s):  
Art Practices ◽  
Postmodern Art

Conventions and temporal differences in painted faces: A study of posture and color distribution

2020 ◽  
Vol 2020 (11) ◽  
pp. 267-1-267-8
Author(s):  
Mitchell J.P. van Zuijlen ◽  
Sylvia C. Pont ◽  
Maarten W.A. Wijntjes
Keyword(s):  
Scientific Community ◽  
Human Face ◽  
Art Galleries ◽  
Art Collections ◽  
Color Distribution ◽  
Scientific Domain ◽  
The Face ◽  
And Gender ◽  
Changes Over Time ◽  
Over Time

The human face is a popular motif in art and depictions of faces can be found throughout history in nearly every culture. Artists have mastered the depiction of faces after employing careful experimentation using the relatively limited means of paints and oils. Many of the results of these experimentations are now available to the scientific domain due to the digitization of large art collections. In this paper we study the depiction of the face throughout history. We used an automated facial detection network to detect a set of 11,659 faces in 15,534 predominately western artworks, from 6 international, digitized art galleries. We analyzed the pose and color of these faces and related those to changes over time and gender differences. We find a number of previously known conventions, such as the convention of depicting the left cheek for females and vice versa for males, as well as unknown conventions, such as the convention of females to be depicted looking slightly down. Our set of faces will be released to the scientific community for further study.

Maximus

2018 ◽  
Author(s):  
Mark Byers
Keyword(s):  
United States ◽  
Political Action ◽  
American Art ◽  
The United States ◽  
The Self ◽  
Postwar Period ◽  
Avant Garde ◽  
The Enlightenment ◽  
Art Practices ◽  
The One

This concluding chapter charts the continuing significance of the early postwar moment in Olson’s later work, particularly The Maximus Poems. The philosophical and political concerns of the American avant-garde between 1946 and 1951 play out across The Maximus Poems just as they inform later American art practices. The search of the early postwar American independent left for a source of political action rooted in the embodied individual is seen, on the one hand, to have been personified in the figure of Maximus. At the same time, Maximus’s radical ‘practice of the self’ charts a sophisticated alternative to the Enlightenment humanist subject widely critiqued in the United States in the immediate postwar period.

scholarly journals The Persistence of Primitivism: Equivocation in Ernesto Neto’s A Sacred Place and Critical Practice

Arts ◽  
2019 ◽  
Vol 8 (3) ◽  
pp. 111
Author(s):  
Camila Maroja
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Native People ◽  
Amazon Rainforest ◽  
Critical Practice ◽  
Sacred Place ◽  
Art Practices ◽  
Environmental Work ◽  
Global Art ◽  
Venice Biennale

During the 2017 Venice Biennale, the area dubbed the “Pavilion of the Shamans” opened with A Sacred Place, an immersive environmental work created by the Brazilian artist Ernesto Neto in collaboration with the Huni Kuin, a native people of the Amazon rainforest. Despite the co-authorship of the installation, the artwork was dismissed by art critics as engaging in primitivism and colonialism. Borrowing anthropologist Eduardo Viveiros de Castro’s concept of equivocation, this article examines the incorporation of both indigenous and contemporary art practices in A Sacred Place. The text ultimately argues that a more equivocal, open interpretation of the work could lead to a better understanding of the work and a more self-reflexive global art history that can look at and learn from at its own comparative limitations.

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