Embodiment, Curation, Exhibition

Screen Bodies ◽  
2016 ◽  
Vol 1 (1) ◽  
pp. 87-91
Author(s):  
Jiaying Sim
Keyword(s):  
Real Time ◽  
Contemporary Art ◽  
Modern Art ◽  
William Blake ◽  
Slow Motion ◽  
The Past ◽  
Film And Video ◽  
Do So

As part of the 2014 GENERATION project celebrating the past twenty-five years of contemporary art in Scotland, Douglas Gordon’s exhibition, “Pretty much every film and video work from about 1992 until now,” took centerstage at the Gallery of Modern Art in Glasgow. Gordon contributed to the dialogue with a unique installation showcasing his twenty-two years of artistic endeavors through 101 different-sized old television sets elevated on old plastic beer crates, simultaneously screening 82 video and film works. The screens flickered and lit the dark main gallery as the visual works played on loop—some with sound, some without, some in slow motion. The exhibition included such works as 24 Hour Psycho (1993), Between Darkness and Light (After William Blake) (1997), Play Dead; Real Time (2003), Henry Rebel (2011), Silence, Exile, Deceit: An Industrial Pantomime (2013) and emphasized how Gordon’s collection has grown since its first exhibition from 1999 in Poland and will continue to do so, as he updates the videos and films.

Page as alternative space redux: artists’ magazines in the 21 st century

2013 ◽  
Vol 38 (3) ◽  
pp. 10-17
Author(s):  
David Senior
Keyword(s):  
Digital Media ◽  
Contemporary Art ◽  
Art History ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Art And Design ◽  
The Past ◽  
Production And Distribution ◽  
New Challenges ◽  
Selection Of

In the past few years, several new publications and exhibitions have presented surveys of the genre of artists’ magazines. This recent research has explored the publication histories of individual titles and articulated the significance of this genre within contemporary art history. Millennium magazines was a 2012 exhibition at the Museum of Modern Art that traced the artists’ magazine into the 21st century. The organizers, Rachael Morrison and David Senior of MoMA Library, assembled a selection of 115 international tides published since 2000 for visitors to browse during the run of the exhibition and created a website as a continuing resource for information about the selected tides. The exhibition served as an introduction to the medium for new audiences and a summary of the active community of international artists, designers and publishers that still utilize the format in innovative ways. As these projects experiment with both print and digital media in their production and distribution of content, art libraries are faced with new challenges in digital preservation in order to continue to document experimental publishing practices in contemporary art and design.

scholarly journals Happiness is Not Fun: Godard, the 20th Century, and Badiou

2010 ◽  
Vol 18 (2) ◽  
pp. 29-42
Author(s):  
Michael Walsh
Keyword(s):  
20Th Century ◽  
Modern Art ◽  
First Century ◽  
Museum Of Modern Art ◽  
Film Festival ◽  
French Cinema ◽  
The Past ◽  
Twenty First Century ◽  
Year 2000 ◽  
Film And Video

"Godard is the most contemporary of directors, one who has never set a film in the past. Yet since the 1990s he has produced a whole cycle of works whose tones are retrospective, memorial, elegaic. These include JLG/JLG:Auto-portrait du Décembre (1995), the much-discussed Histoire(s) du Cinèma (begun in 1988, completed in 1998) 2 x 50 Years of French Cinema (commissioned by the BFI for the centennial of cinema in 1995), The Old Place (commissioned by the Museum of Modern Art in 1999), On the Origin of the Twenty-First Century (commissioned by the Cannes Film Festival for the year 2000), Dans Le Noir du Temps (a contribution to the 2002 compilation film Ten Minutes Older), and the 2006 Centre Pompidou exhibition “Travels in Utopia.” This last was a retrospective in the conventional sense (screenings of four decades worth of film and video by Godard, Godard/Gorin, Godard/Mièville, etc), but was also retrospective as an installation, divided into three spaces identified as hier, l’avant-hier, and aujourd’hui (yesterday, the day before yesterday, and today), with tomorrow notable for its absence..."

Screendance: Inscribing the Ephemeral ImagebyDouglas Rosenberg; Dancefilm: Choreography and the Moving ImagebyErin Brannigan

2013 ◽  
Vol 45 (2) ◽  
pp. 133-137
Author(s):  
Harmony Bench
Keyword(s):  
Creative Work ◽  
Scholarly Writing ◽  
Moving Image ◽  
Dance Studies ◽  
Experimental Art ◽  
The Past ◽  
University Settings ◽  
Film And Video ◽  
Do So

Over the years, screendance has generated flurries of interest within the scholarly dance community, only to watch that interest wane again and again with shifting academic trends. The past decade, however, has seen a slow-churning energy that may result in a more sustainable conversation around dance onscreen, much of which has been fueled by screendance artists and programmers themselves. A number of volumes of interest to academia have emerged as screendance artists have made homes for themselves in university settings. For makers of dance onscreen, Katrina McPherson'sMaking Video Dance: A Step-by-Step Guide to Creating Dance for the Screen(2006) and Karen Pearlman'sCutting Rhythms: Shaping the Film Edit(2009) are especially noteworthy. After Sherril Dodds's important historical and analytical bookDance on Screen: Genres and Media from Hollywood to Experimental Art(2001), however, screendance scholarship was not positioned to capitalize and build on Dodds's provocation. Liz Aggiss and Billy Cowie's edited collectionAnarchic Dance(2006) offers a wonderful model for gathering together the creative work of a team of artists and scholarly writing about their work, but likeEnvisioning Dance on Film and Video(2002), a collection that was pulled together under Judy Mitoma's direction, the tone is somewhat self-congratulatory and the analysis is tepid. Finally, two books have come out that will stand alongside Dodds's to re-ignite conversations in the screendance field and in Dance Studies generally, and will do so in a generative and critical way: Douglas Rosenberg'sScreendance: Inscribing the Ephemeral Image(2012) and Erin Brannigan'sDancefilm: Choreography and the Moving Image(2011).

“Muslims to Take Over Institute for Contemporary Art”: The 1976 World of Islam Festival

2008 ◽  
Vol 42 (1-2) ◽  
pp. 40-47 ◽  
Author(s):  
Anneka Lenssen
Keyword(s):  
Contemporary Art ◽  
Modern Art ◽  
Islamic Art ◽  
Single Event ◽  
The West ◽  
The World ◽  
Visual Expression ◽  
Do So

The terms “Islamic” and ‘Arab” are not ideal instruments for classifying modern or contemporary art, for they are meta-categories that can variously encompass Muslims and non-Muslims, and Arabs and non-Arabs. Nonetheless, as historians of modern art in Islamic regions, we seem to have inherited a longstanding commitment to Islamic art as an epistemologically unique practice that produced limitless abstract patterns and other “non-Western” visual expression. It is time to move beyond such overburdened lineages. In this paper, I aim to historicize the formulations of a specific Arabo-Islamic aesthetic that emerged in the 1970s. I do so by a study of a single event and its metacultural claims: the World of Islam Festival held in London in 1976. The Festival projected optimistic countercultural options for art and civilization that remain instructive today, while the complexity of its organizing structures demonstrates the limitations of the West/rest paradigm in interpreting its artistic products.

Recalcitrant Geographies: National Claims, Transnationalism, and the Institutionalization of Contemporary Art

2014 ◽  
Vol 1 ◽  
Author(s):  
Kitty Zijlmans
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Modern Art ◽  
Art Museums ◽  
Western World ◽  
The West ◽  
International Scope ◽  
The Past ◽  
Museum Displays ◽  
Globalizing World

The time is ripe for modern and contemporary art museums in the West to reconsider their position in a globalizing world, to engage with such questions as how their collections have been formed and presented in the past fifty years or more, and what they represent. Modern art is said to have an international scope, but in reality this generally means Euro-American. Consequently, its origins, which lie in part in art from Africa, the Pacific and the Americas, are denied. Contemporary art as a global phenomenon is making a somewhat hesitant entry into museums in the Western world and into art history. It may be making its entry and may also be included in the discourse of art history, but in many cases this move is problematic. Throughout the past twenty-five years, Third Text founder Rasheen Araeen has fulminated against the “West’s” appropriation of modern art and the concept of Modernism.[1] Third Text has persistently argued that the Western analytical paradigm of the arts is distorted in its history and imposes its values and aesthetics without acknowledging the contribution of artists “from elsewhere,” as Okwui Enwezor terms it. This has had a number of consequences, not least the neglect in art historical textbooks and by modern art museums in the West of crucial Modernist work produced by non-Euro-American artists. Not having been written into the mainstream of art history, or seen as foundational for the formation of the canon of modern art and displays in modern art museums, this neglect results in a distorted view and calls for a thorough rewriting of modern art history, as well as a reconsideration of the layout of art museums. This urge is felt even more in the present-day globalization of art and the art world. “Art from elsewhere,” which is abundant, cannot simply be added to the existing canons or inserted into prevalent discourses; rather, we need to critically assess the foundations of art historical writing, canon formation, and museum displays.

scholarly journals Film and Media as a Site for Memory in Contemporary Art

2017 ◽  
Vol 14 (1) ◽  
pp. 157-173
Author(s):  
Domingo Martinez Rosario
Keyword(s):  
Contemporary Art ◽  
Cultural Memory ◽  
Media Art ◽  
The Past ◽  
Multi Media ◽  
A Site ◽  
The Relationship ◽  
Film And Video ◽  
With Memory

Abstract This article explores the relationship between film, contemporary art and cultural memory. It aims to set out an overview of the use of film and media in artworks dealing with memory, history and the past. In recent decades, film and media projections have become some of the most common mediums employed in art installations, multi-screen artworks, sculptures, multi-media art, as well as many other forms of contemporary art. In order to examine the links between film, contemporary art and memory, I will firstly take a brief look at cultural memory and, secondly, I will set out an overview of some pieces of art that utilize film and video to elucidate historical and mnemonic accounts. Thirdly, I will consider the specific features and challenges of film and media that make them an effective repository in art to represent memory. I will consider the work of artists like Tacita Dean, Krzysztof Wodiczko and Jane and Louise Wilson, whose art is heavily influenced and inspired by concepts of memory, history, nostalgia and melancholy. These artists provide examples of the use of film in art, and they have established contemporary art as a site for memory.

Modern Art in the Arab World, Primary Documents: A Review Essay

2020 ◽  
Vol 54 (2) ◽  
pp. 342-351
Author(s):  
Hamid Keshmirshekan
Keyword(s):  
Contemporary Art ◽  
North Africa ◽  
Arab World ◽  
Modern Art ◽  
Arab Countries ◽  
The Past ◽  
Scholarly Output ◽  
Primary Documents ◽  
The Subject ◽  
Critical Writings

The study of modern and contemporary art from Islamic lands, and particularly the Arab world, is a developing field. Over the past few decades, a variety of publications on modern and contemporary art from the Arab world and its diasporas has appeared in art magazines, journals, and exhibition and auction catalogues. There is, however, still a lack of scholarly literature and reliable resources on the subject. Many such existing sources have focused on productions that are largely in line with certain interests or agendas pursued by the particular magazine/journal, exhibition, or art market in question. Therefore, although recent scholarly output has played a crucial role in introducing modern art in the Arab countries in the Middle East and North Africa, these publications have not sufficiently filled the gap of discussion regarding certain aspects of the subject. Modern Art in the Arab World, a collection of critical writings by Arab intellectuals and artists, offers an unparalleled source for the study of modernism in the Arab world. Mapping the primary documents with additional entries written by the editors and other scholars, this book addresses the major historical, conceptual, theoretical, and aesthetic issues that inform the modern art paradigm in the Arab world. Arranged largely in a chronological order, it explores the art of the Arab world by tracing the main discourses that have shaped artistic practices and transformations in the region from the mid-nineteenth century until the late 1980s.

Video real-time imaging of artificial membranes during freeze-drying by cryo-electron microscopy

1988 ◽  
Vol 46 ◽  
pp. 16-17
Author(s):  
Alan S. Rudolph ◽  
Ronald R. Price
Keyword(s):  
Real Time ◽  
Self Assembly ◽  
Freeze Drying ◽  
Video Capture ◽  
Drying Process ◽  
Artificial Membranes ◽  
The Past ◽  
Cryo Electron Microscopy ◽  
Spherical Structures ◽  
Capture Techniques

We have employed cryoelectron microscopy to visualize events that occur during the freeze-drying of artificial membranes by employing real time video capture techniques. Artificial membranes or liposomes which are spherical structures within internal aqueous space are stabilized by water which provides the driving force for spontaneous self-assembly of these structures. Previous assays of damage to these structures which are induced by freeze drying reveal that the two principal deleterious events that occur are 1) fusion of liposomes and 2) leakage of contents trapped within the liposome [1]. In the past the only way to access these events was to examine the liposomes following the dehydration event. This technique allows the event to be monitored in real time as the liposomes destabilize and as water is sublimed at cryo temperatures in the vacuum of the microscope. The method by which liposomes are compromised by freeze-drying are largely unknown. This technique has shown that cryo-protectants such as glycerol and carbohydrates are able to maintain liposomal structure throughout the drying process.

Current Issues: Advanced Digital Technology for Supervising Graduate Clinicians

2010 ◽  
Vol 20 (1) ◽  
pp. 9-13 ◽  
Author(s):  
Glenn Tellis ◽  
Lori Cimino ◽  
Jennifer Alberti
Keyword(s):  
Real Time ◽  
Digital Technology ◽  
Clinical Training ◽  
State Of The Art ◽  
Clinical Skills ◽  
Slow Motion ◽  
Video Capture ◽  
Microsoft Excel ◽  
Clinical Supervisors ◽  
Training And Supervision

Abstract The purpose of this article is to provide clinical supervisors with information pertaining to state-of-the-art clinic observation technology. We use a novel video-capture technology, the Landro Play Analyzer, to supervise clinical sessions as well as to train students to improve their clinical skills. We can observe four clinical sessions simultaneously from a central observation center. In addition, speech samples can be analyzed in real-time; saved on a CD, DVD, or flash/jump drive; viewed in slow motion; paused; and analyzed with Microsoft Excel. Procedures for applying the technology for clinical training and supervision will be discussed.

Imagining Mary Magdalene

2014 ◽  
Vol 7 (1) ◽  
pp. 1-25
Author(s):  
Jodie Eichler-Levine
Keyword(s):  
Comic Books ◽  
Historical Novels ◽  
Religion And Spirituality ◽  
Mary Magdalene ◽  
The Past ◽  
Scholarly Discourse ◽  
Do So

In this article I analyze how Americans draw upon the authority of both ancient, so-called “hidden” texts and the authority of scholarly discourse, even overtly fictional scholarly discourse, in their imaginings of the “re-discovered” figure of Mary Magdalene. Reading recent treatments of Mary Magdalene provides me with an entrance onto three topics: how Americans see and use the past, how Americans understand knowledge itself, and how Americans construct “religion” and “spirituality.” I do so through close studies of contemporary websites of communities that focus on Mary Magdalene, as well as examinations of relevant books, historical novels, reader reviews, and comic books. Focusing on Mary Magdalene alongside tropes of wisdom also uncovers the gendered dynamics at play in constructions of antiquity, knowledge, and religious accessibility.

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