scholarly journals Yoga and White Public Space

Religions ◽  
2020 ◽  
Vol 11 (12) ◽  
pp. 669
Author(s):  
Rumya S. Putcha
Keyword(s):  
New York ◽  
Public Space ◽  
Fine Arts ◽  
Space And Place ◽  
Critical Race ◽  
History Museum ◽  
Metropolitan Museum Of Art ◽  
Discursive Analysis ◽  
And Performance

This article connects recent work in critical race studies, museum studies, and performance studies to larger conversations happening across the humanities and social sciences on the role of performance in white public spaces. Specifically, I examine the recent trend of museums such as the Natural History Museum of London, the Metropolitan Museum of Art in New York, and the Museum of Fine Arts in Boston, to name but a few, offering meditation and wellness classes that purport to “mirror the aesthetics or philosophy of their collections.” Through critical ethnography and discursive analysis I examine and unpack this logic, exposing the role of cultural materialism and the residue of European imperialism in the affective economy of the museum. I not only analyze the use of sound and bodily practices packaged as “yoga” but also interrogate how “yoga” cultivates a sense of space and place for museum-goers. I argue that museum yoga programs exhibit a form of somatic orientalism, a sensory mechanism which traces its roots to U.S. American cultural-capitalist formations and other institutionalized forms of racism. By locating yoga in museums within broader and longer processes of racialization I offer a critical race and feminist lens to view these sorts of performances.

Excavations in Iraq 1972–73

Iraq ◽  
1973 ◽  
Vol 35 (2) ◽  
pp. 189-204
Keyword(s):  
New York ◽  
Fine Arts ◽  
Director General ◽  
New York University ◽  
Alphabetical Order ◽  
Metropolitan Museum Of Art ◽  
British School ◽  
Old Babylonian ◽  
Assistant Director ◽  
Excavation Work

The reports given below cover excavation work in Iraq from June 1972 to May 1973. The information on each site has been kindly provided by the director of the excavations, unless otherwise specified, and the final version has been checked by him wherever possible. The sites are arranged in alphabetical order, according to their best known name.The material for this report was assembled by Mr. J. N. Postgate, Assistant Director of the British School of Archaeology in Iraq. The Editors are glad to acknowledge his efforts, and wish to express their gratitude to all those colleagues who have so willingly contributed information on their work, and especially to Dr. Isa Salman, the Director-General of Antiquities in Iraq, for his generous co-operation which alone has made the compilation possible.The third season of excavations of the joint expedition of the Metropolitan Museum of Art and the Institute of Fine Arts of New York University to al-Hiba took place from October 1972 to January 1973.Work was concentrated in Area B located in the high west-central portion of the mound where occupation continued into the Old Babylonian period. Beneath the surface are the remains of an enormous platform of mud-brick, undoubtedly an Old Babylonian temple platform. Only the core of the platform was preserved.

Alfred H. Barr, MoMA, and the Entrance and Exit of Outsider Art (1936–1943)

2021 ◽  
Vol 10 (1) ◽  
pp. 2-25
Author(s):  
Dieter De Vlieghere
Keyword(s):  
New York ◽  
Modern Art ◽  
Fine Arts ◽  
Art Museum ◽  
Museum Of Modern Art ◽  
Art World ◽  
Outsider Art ◽  
Creative Agency ◽  
Changing Role

Fantastic Art, Dada, Surrealism (1936), curated by Alfred H. Barr at the Museum of Modern Art (MoMA), New York, was the first major exhibition of outsider art at the epicentre of the art world. The entrance of outsider art in the art museum coincided with the changing role of the curator: from a custodian of fine arts to an exhibition author with creative agency. The disconnection of outsider art from canonized art history and the peculiar appearance of the works and their makers inspired new curatorial narrations and settings. Barr’s inclusive vision of modern art and curation was, however, strongly criticized, and a few years later that vision was replaced by a hierarchical one demanding the exclusion of outsider art from the art museum. The developments at MoMA between 1936 and 1943 exemplify how outsider art served as a catalyst for the curatorial turn in which the division between the roles of curator and artist began to shift.

A Conversation with Jutta Koether

October ◽  
2016 ◽  
Vol 157 ◽  
pp. 15-33
Author(s):  
Benjamin H. D. Buchloh
Keyword(s):  
New York ◽  
New Wave ◽  
And Performance ◽  
The Many ◽  
A Performance

Benjamin Buchloh speaks with German artist, musician, and critic Jutta Koether about the many ways in which Koether blurs the lines between painting and performance in her practice, “reinstalling,” in her words, painting as a “platform, a potential, [and] a performance.” Koether discusses the formative role of New Wave and punk culture in her practice, particularly her time at Spex magazine; her studies in Cologne in the late 1970s and the anti-aesthetic impulse in painting from Picabia to Polke to Kippenberger; and her time in New York in the late 1980s and ′90s. Special attention is paid to her relationship to Poussin, both in her paintings The Seasons and The Sacraments and in her performance at Harvard in April 2013, as well as to early works like Inside Job (1992).

scholarly journals Urban Interiority in the Anthropocene

Interiority ◽  
2020 ◽  
Vol 3 (1) ◽  
pp. 83-96
Author(s):  
Nerea Feliz Arrizabalaga
Keyword(s):  
Public Space ◽  
Interior Design ◽  
Urban Areas ◽  
Life Forms ◽  
Urban Public Space ◽  
Biodiversity Crisis ◽  
Raising Awareness ◽  
The Face ◽  
And Performance

This paper explores how interior design could amplify the current discourse on sustainability within urban public space. The consideration of a number of contemporary authors that are questioning the traditional notion of interiority situates this paper within an expansive understanding of interiority in the context of the Anthropocene. Interiority is considered as a transferable condition based on modes of interior occupation, that can take place on the outdoors, and is often found in public spaces within dense urban areas. In the face of an upcoming biodiversity crisis, this text advocates for a necessary disciplinary shift away from traditional anthropocentric views, towards a multispecies conception of the built environment. Both the ideas and the case studies in this article seek to expand the role of interior elements, both semiotics and performance, to foster inclusivity of non-human species, in particular insects, in city environments. Two design proposals illustrate how interior design tactics might positively contribute to raising awareness about this underacknowledged population, and at the same time, help cultivate a sense of intimacy between us and the multiple life forms that inhabit our public urban spaces.

scholarly journals ‘Getting the seat of your pants dirty’: Space and place in ethnographic educational research

Ethnography ◽  
2018 ◽  
Vol 20 (2) ◽  
pp. 263-283
Author(s):  
ML White
Keyword(s):  
New York ◽  
New York City ◽  
Educational Research ◽  
Pedagogical Practices ◽  
Space And Place ◽  
Non Profit ◽  
Visual Technology ◽  
Education Centre ◽  
The City

In this paper I consider the importance of space and place in ethnographic educational research. The paper draws on research that took place at Educational Video Center (EVC), a non-profit media education centre in New York City (NYC). In this paper I articulate EVC as a place imbued with meaning from the pedagogical practices that take place within and regarding it and argue for a consideration of spatiality in ethnographic educational research. I consider the role of the city landscape in order to identify how knowledge is emplaced and represented through digital, visual technology, and I conclude by outlining the criticality of spatializing our ethnographic practices.

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