The aim of this article is to examine Edmund Husserl’s theory of aesthetic consciousness and the possibility to apply it to site-specific art. The central focus will be on the idea of the limited synthetic unity of the aesthetic object that is introduced by Husserl in order to differentiate positional and aesthetic attitude towards the object. I claim that strongly site-specific art, which is a work of art about a place and in the place, challenges the (...) view that the synthetic unity of the aesthetic object is limited. Moreover, following Husserl’s theory, it becomes questionable whether strongly site-specific art is art at all. I try to answer these objections by explaining how the artist prescribes the appearances and boundaries of a strongly site-specific object of art, thereby satisfying the demand for the limitedness of the synthetic unity of the aesthetic object. (shrink)

본 논문은 여성주의적 실천의 한 방식으로서 장소 특정적 예술이 가질 수 있는 가능성을 미학적 관점에서 탐구하는 것을 목표로 한다. 현대예술의 일반적인 형식중의 하나로서 자리잡은 장소특정적 예술은, 장소라는 요소가 비판적 예술 실천(수행)에서 어떻게 문제적이 되는지 장소적 실천 일반에 대해서 시사하는 바가 크다. 그 중에서도 본 논문은 장소와 여성주의적 실천의 관계를 다루며, 이를 위해, 2000년대 이후 한국 여성예술가의 네 개의 장소특정적 예술들 - 예술가의 서사와 담론이 중심이 되어 장소화나 특정 장소 선정이 이루어지는 두 가지 경우, 특정 지역 관련 기획전시의 경우, 특정 지역연구 (...) 프로젝트의 경우-을 대표 사례로 고려하였다.BR 모더니즘 예술의 매체 특정성과 대조적으로, 장소 특정성은 예술이 놓여있는 사회제도적 장소에 대한 의식과 질문이 주요동기가 되기 때문에, 비판적 문화실천으로서 여성주의적 실천의 가능성이 탐색될 수 있다. 예술에서의 장소특정성이 여성주의적 실천으로 기능하기 위해서 우선적으로 선행되어야 할 것은 장소 혹은 장소정체성이라는 개념에 대한 재해석이다. 장소란 특정 지리적 입지에 교차하는 다양한 사회적 관계라는 비판지리학자 매시Massey의 주장에 따른다면, 장소를 재구성하고 재해석하는 행위는 모두 정치적 행위이며, 예술에서 지역적 정체성이라는 요소의 활용 역시 젠더나 인종, 지역 문제에 대한 진보적 실천의 방식이 될 수 있다. 여성주의적으로 의미있는 장소적 예술실천에서 중요한 것은 이처럼, 우선적으로는 관계적 장소개념에 의해 기존의 지역정체성이 역사적으로 어떻게 구성되었는지의 해체와 재해석, 즉 특정 장소 정체성에 대한 여성주의적 관점에서의 적극적 재해석이다. 또한 장소특정적 예술의 많은 형태가 특정 장소나 지역 연구프로젝트라는 특수한 예술 형식과 관련된다. 이같은 지역연구 프로젝트는 여성예술가(집단)가 그 지역 정체성을 재해석하는 것 뿐 아니라, 그 지역에 살고 있는 여성 공동체의 삶에 개입하게 된다. 따라서 장소특정적 실천이 여성주의적으로서 유의미하게 위해 중요한 두 번째 요소는, 타자로서의 예술가가 지역 공동체와 관계함에 있어 어떤 위치를 취하고 어떤 방식을 택할 것인가에 대한 미학적, 윤리학적 성찰이라고 할 수 있다. (shrink)

This paper examines the assumptions underpinning one of the constitutive elements of the modern concept of art: the idea of aesthetic autonomy. I argue that the orientation of recent art practice towards what has come to be termed ‘site-specificity’ is best understood as a progressive relinquishment of the principle of aesthetic autonomy. I develop this position through a close analysis of the work of Miwon Kwon. The paper is intended as a case-study that investigates the problematic relation between historical (...) and philosophical enquiry. CiteULike Connotea Del.icio.us What's this? (shrink)

본 논문은 메를로-퐁티(Maurice Merleau-Ponty, 1908-1962)의 현상학적 시각으로 리처드 세라(Richard Serra, 1939- )의 장소 특정적 미술(site-specific art)에 관한 예술철학적 고찰을 목적으로 한다. 장소 특정적 미술에서 몸의 체험은 가장 중요한 작품완성 요소이다. 2차원의 회화를 감상하는데 있어서 기본적으로 몸의 일부인 눈의 시각적 체험이 중요하기는 하지만, 장소 특정적 미술에서는 시각 외에도 청각, 촉각, 후각, 운동감각과 공간 감각 등의 다양한 감각이 융합된 총체적 몸의 체험이 부각 된다. 이러한 몸의 체험은 육체와 정신으로 이분화되는 데카르트(René Descartes, 1596-1650)적 사유 방식이나 게슈탈트의 시지각 이론(Gestalttheorie)으로는 이해하기 힘들다고 할 (...) 수 있으며, 이러한 사실을 염두에 두고 본 논문에서는 메를로-퐁티의 몸에 관한 사상을 중심으로 리처드 세라의 장소 특정적 미술에 대한 이해를 도모하고자 한다. 더불어 기존의 비평과 연구에서 한 걸음 나아가기 위해, 세라 작품의 현상학적 측면과 그의 일본 선(禪) 정원에서의 경험에 함께 주목하면서, ‘선 정원 경험의 현상학적 측면’과 ‘동양의 유(有)와 무(無)’ 개념에 대한 논의와 함께 세라의 작품세계에 관한 고찰을 진행한다. (shrink)

L’exposition d’art dans des paysages est devenu populaire au Japon, avec la multiplication récente de festivals d’art locaux. Dans ces festivals, qui attirent chacun des centaines de milliers de visiteurs, coexistent des œuvres hétérogènes. Certaines sont des sculptures autonomes, d’autres des installations qui se fondent dans le paysage, et d’autres encore sont des œuvres de type « art relationnel ». Bien que ces œuvres in situ affirment leur lien essentiel avec le site naturel rural et avec le corps du (...) spectateur — constituant un événement, une expérience, une rencontre éphémère —, les relations avec le site comme avec le visiteur sont complexes et ambigües. Il y a des œuvres in situ, mais parfois aussi in aliquo situ : des œuvres qui peuvent être installées n’importe où. Qu’est-ce qui attire les visiteurs dans ces expositions? Quels sont donc la nature et le mérite de leur localisation? Si les visiteurs apprécient de voir des œuvres dans ces paysages cela peut être en partie lié au principe japonais traditionnel d’expérience des lieux dit meisho-meguri, ou « pèlerinage vers des sites célèbres ». Cette pratique issue du Moyen Âge est associée historiquement au sacré. Aujourd’hui ce pèlerinage prend la forme du tourisme moderne mais conserve un sens traditionnel invisible car les visiteurs se déplacent à travers une série de lieux géographiques selon un jeu culturellement codé. Selon nous, dans le cas des visites d’œuvres d’art en zones rurales, l’appréciation des œuvres d’art participe à ce même jeu traditionnel de se déplacer physiquement dans une série de lieux. Cette dimension spirituelle implicite modifie à son tour la perception des œuvres. Ainsi on dira que la pratique japonaise de visiter ces expositions d’art in situ témoigne de la survivance d’une tradition, et constitue ainsi un système alternatif d’expérience esthétique. The installations of artwork in natural landscapes have become popular in Japan with the recent increase in local art festivals. In these art festivals where hundreds of thousands of visitors gather, heterogeneous installations coexist; some are autonomous sculptures, some are fused into the natural landscape, and some belong to “relational art”. Although most works assert the essential quality of their location, and the experience as “an event”, their relationships to the rural areas and to the body of the visitor are complex and ambiguous. Some works are really in situ, but some are in aliquo situ—that is, works that could be installed anywhere. What attracts visitors to these exhibitions? Hence what is the nature and merit of the location? What is the relation to the visitor’s bodily presence? If visitors enjoy the site-specificity of the artwork this may be linked to the traditional Japanese system of experiencing places as meisho-meguri—i.e. “a pilgrimage to a series of famous sites”. This practice comes from the Middle Ages and was by then spiritual. While today these pilgrimages appear as a form of modern tourism, they retain a culturally coded character because visitors’s journey is like “a game of visiting a series of geographical places”. According to me, in the case of the visit of artistic sites, the appreciation of the artwork participates in this same game of bodily displacement to a series of places. This implicit spiritual underpinning conversely modifies the visitor’s perception of the works. Thus I propose that visiting artistic sites in natural settings in Japan appears as informed by this Japanese particular tradition, and thus constitutes an alternative system of contemporary aesthetic experience. (shrink)

The topic of this article is the relationship of street art to both the street and the artworld. I take it as significant that philosophers have turned their attention to “street art” and not, say, “urban outdoor art” or “site-specific art in urban settings.” The “street” in street art seems to imply more than a location or geographic modifier. I consider the further significance of the “street” in street art, and the view, argued or assumed, of the street (...) when philosophers discuss street art. My second target in this article is what I have called the “discontinuity thesis.” This is the idea, defended or assumed in some of the most important philosophical writing about street art, that street art represents a radical break with the artworld and is “antithetical” to it. I argue that the discontinuity thesis is mistaken, and that to understand the larger institutional context of street art we must examine the sociology of artworlds. Street art has followed a familiar process and pioneering street artists are best seen as “mavericks” in Howard Becker’s sense. I argue that seeing street artists in this way can help better understand and appreciate their work. (shrink)

Not all public art is bad art, but when public art is bad, it tends to be bad in an identifiable way. In this paper, I develop a Waltonian theory of the category of public art, according to which public art standardly is both accessible to the public and minimally site-specific. When a work lacks the standard features of the category to which it belongs, appreciators tend to perceive the work as aesthetically flawed. I then compare and contrast (...) cases of successful and unsuccessful public art to show that accessibility and site-specificity are features which tend to preclude the other. It is difficult, although hardly impossible, for a site-specific work to remain accessible, and difficult for an accessible work to engage adequately with the site on which it is situated. As a result, while not all public art is bad, the features peculiar to public work encourage a latent tendency toward badness. (shrink)

Several contemporary architects have designed architectural objects that are closely linked to their particular sites. An in-depth study of the relevant relationship holding between those objects and their sites is, however, missing. This paper addresses the issue, arguing that those architectural objects are akin to works of site-specific art. In section (1), I introduce the topic of the paper. In section (2), I critically analyse the debate on the categorisation of artworks as site-specific. In section (3), (...) I apply to architecture the lesson learned from the analysis of the art debate. (shrink)

Danto's discussion of site‐related and site‐specific art opens up perspectives on both his conception of the ethics and politics of public art and on his ultimately idealistic ontology of art. Danto's analysis of the Vietnam Veterans Memorial involves an important distinction between monuments and memorials that is highly relevant to current controversies, like those about Confederate statues. His differing responses to two site‐related public art works by Richard Serra exhibit a nuanced sensibility to the taste of (...) the public audience and the aesthetics of genius loci. Danto's enthusiastic account of several site‐specific works involving minimal interventions on the ground (some of which remained in the planning stage) disclose his inclination to reduce art to its idea, prescinding from its material presence. (shrink)

Since the 1960s, many artists have incorporated ecological concerns into their work, an endeavor that has required new strategies in art-making. To explore recent American manifestations of these interests, the David and Alfred Smart Museum commissioned new projects from artists Mark Dion, Peter Fend, and Dan Peterman, each focusing on interrelationships between particular organisms—human beings-and a specific group of sites—a museum building, a river landscape, and a university campus. The results, exhibited at the Smart Museum during the summer of (...) 2000, evoke the varied scales, from the microscopic to the global, at which human actions affect the environment. This catalog documents each of the artists' projects through an array of images and words: Smart Museum Associate Curator Stephanie Smith provides an introduction and brief overviews of the three projects, each of the artists contribute statements, and photographers Susan Anderson and Tom van Eynde document—in over 100 images—the processes and projects that comprise the exhibition. (shrink)

L’arte contemporanea è caleidoscopica: può catapultarci in ambienti complessi o minimali richiedendo la nostra attiva partecipazione, ancorarsi a luoghi particolari, porci di fronte a opere apparentemente indistinguibili da oggetti ed eventi della vita quotidiana, appropriarsi illegalmente degli spazi pubblici, e così via. Questo volume muove dalla premessa che uno dei compiti della filosofia dell’arte sia prestare attenzione a specifiche pratiche artistiche e a teorie sull’arte avanzate in altri ambiti di ricerca, per poi organizzare in maniera perspicua la molteplicità dei dati (...) raccolti. I filosofi possono così costruire teorie quanto più generali possibile per cercare di spiegare ciò che emerge da tali dati. Le ricerche qui presentate si concentrano su alcuni fenomeni, accuratamente scelti nell’ampio panorama dell’arte contemporanea: l’installation art e i suoi rapporti con l’installazione espositiva, l’arte sito-specifica e la sua appartenenza alla più ampia tradizione dell’arte situata, il ruolo delle idee nell’arte concettuale e il carattere sovversivo della street art. Sfruttando l’efficacia esplicativa del concetto di medium artistico, nonché della individuazione di forme e generi d’arte, le analisi qui presentate indagano le ragioni per cui in queste pratiche artistiche sono centrali l’esperienza dello spazio, l’interazione fra opere e pubblico, i luoghi d’installazione delle opere e gli oggetti come portatori di significati. (shrink)

This paper brings a critical focus to difference and the creative arts in education with specific attention to art as a site of knowledge in New Zealand conditions. The 1990s and early 2000s are marked by a paucity of critically engaged literature on the arts in education and a conspicuous absence of discussions on the politics of difference. Alongside the global return to empirical research in education where quantifiable data‐based projects tend to attract attention ahead of fundamentally crucial (...) questions of philosophical and critical registers, there has been an apparent reinvention of liberal humanistic concepts of creative practice. These tendencies are coupled with strategic political alignments of creativity with industry. The outcome appears to be a withering of attention to the politics of difference on the vine of educational philosophy, policy and practice in art education. The paper suggests that if the creative arts are to hold or gain any purchase in the stakes of education in a global world this vine must be tended and revitalised through a rigorous application of critically framed questions so that discourses of difference can be recognised as a social and political responsibility in the art educational encounter. (shrink)

The fascination and thrill of arts festivals relates to their capacity to host the unexpected, surprising and new. The economic model of novelty bundling markets presents a rare attempt to account for the potential impact of festivals on innovation. Its cognitive conception of festivals as sites of economic evolution offers a point of departure for this paper. The economic model is criticised and further developed, especially in two respects, drawing on sociological studies on science, technology and society and on empirical (...) data from two cases of innovatively used lighting technology in festivals. First, it is argued that festivals offer a fair space for the simultaneous discovery, display and valorisation of the new that is produced by performers, curators and audiences, and by innovators, intermediaries and consumers alike. Secondly, the production and consumption of newness in festivals is linked to the specific way in which their socio-material setting facilitates what has been termed framing and overflowing of cognitive formats. Finally, the analysis sheds new light not only on the innovative impact of festivals but also on the scholarly reserve to engage with this field of research. (shrink)

Each Site Specific is always and above all Time Specific, that is marked by Time and by the times from which it is generated, defined and set in a place. Space is a significant environment a work that works in the Work that re-means, in its transformation, the very connotations of performing action. To contain the never-ending process of meaning to which such a work would be subjected, it will be Time: that granitic categorial essence that philosophy, (...) together with Space, indicates as fundamental for any cognitive and speculative exercise. Moreover such an artifact, incorporating History and stories, re-reads – making them readable – living testimonies that animate the place of existence of subjects and objects that last the relative time of their existence, in an attempt to make them and itself eternal. As if the work could take charge of the task of triggering the memorative (making memory) device of the Real, a mysterious aesthetic mechanism that interfaces subjects and objects in the common project to adapt, know and make the world – which is more than the Real, imbued as it is of significant connections and correlations. The object work of art in its positioning (making room) in a place, invites the subject –through an imaginative pact – to signify the world through a simulation of sight that allows Man to pre-see his own possibility of existence before the unknown the real proposes him, responding to his personal S.o.S. he sends daily, threatened by the indecipherable fear of sinking in the unknown. (shrink)

In the United States, property rights are afforded protection, but moral rights are not. Up until 1989, the United States adamantly refused to join the Berne Copyright Convention, the first multilateral copyright treaty, now ratified by seventy-eight countries. The American government refused to comply because the Berne Convention grants moral rights to authors. This international policy was—and is—incompatible with United States copyright law, which recognizes only economic rights. Although ten states have enacted some form of moral rights legislation, federal copyright (...) laws tend to prevail, and those are still wholly economic in their motivation. Indeed, the recent pressure for the United States to agree, at least in part, to the terms of the Berne Convention came only as a result of a dramatic increase in the international piracy of American records and films.In September 1986, Senator Edward M. Kennedy of Massachusetts first introduced a bill called the Visual Artists Rights Act. This bill attempts to amend federal copyright laws to incorporate some aspects of international moral rights protection. The Kennedy bill would prohibit the intentional distortion, mutilation, or destruction of works of art after they have been sold. Moreover, the act would empower artists to claim authorship, to receive royalties on subsequent sales, and to disclaim their authorship if the work were distorted.4 This legislation would have prevented Clement Greenburg and the other executors of David Smith’s estate from authorizing the stripping of paint from Several of Smith’s later sculptures so that they would resemble his earlier—and more marketable—unpainted sculptures. Such moral rights legislations would have prevented a Japanese bank in New York from removing and destroying a sculpture by Isamu Noguchi simply because the bank president did not like it. And such legislation would have prevented the United States government from destroying Tilted Arc. 4. Although this section appeared in the original version of Kennedy’s bill, the current version provides for a study of resale royalties. Richard Serra is known for his large-scale site-specific works in landscapes, urban environments, and museums. (shrink)

Some low-income social housing neighborhoods are undergoing radical transformations in Denmark. Classified as “ghettos” and “parallel societies,” and marked by area-specific legislation, we identify a triple exposure in these neighborhoods. The residents are exposed to inequality, stigmatization, and discriminatory inter-ventions. Parallel to this, cultural policies and programs have ap-proached these same neighborhoods based on the assumption that they can be “elevated” through art. Drawing upon a broader re-search in art project in four social housing areas (Eriksson, Nielsen, Sørensen and (...) Yates, 2022), this article focuses on Gellerup Park in Aarhus and considers how two site-specific art platforms address the site and time-specific conditions of the area, offering alterna-tive relations and forms of engagement. (shrink)

The central theme of my dissertation is Husserl’s phenomenological analysis of how we experience images. The aim of my dissertation is twofold: 1) to offer a contribution to the understanding of Husserl’s theory of image consciousness, aesthetic consciousness and art, and 2) to find out whether Husserl’s theory of the experience of images is applicable to modern and contemporary art, particularly to strongly site-specific art, unaided ready-mades, and contemporary films and theatre plays in which actors play themselves. Husserl’s (...) commentators and followers interested in his theory of the experience of images have mostly focused on the concept of “phantasy” [Phantasie] or “imagination.” Accordingly, the main interest is in the notion of the “image object” [Bildobjekt] and in the question of how something absent can appear in an image. In my dissertation, the central concept is “image consciousness” [Bildbewusstsein] which is a unique kind of experience: it involves both perception and imaging. I want to show that Husserl’s early theory of depictive image consciousness and his later theory of the experience of images can both be subsumed under the term “image consciousness”. I want to point out that Husserl’s revision of his earlier theory of image consciousness results in the distinction between depictive and non-depictive image consciousness, and that revision did not amount to an abandoning of the theory of “image consciousness.” In addition, Husserl divides depictive consciousness into positing and non-positing depictive consciousness. In my dissertation, I take the theory of image consciousness as the basis for explaining the experience of images, including the experience of visual works of art. In Husserl’s definition of art: “Without an image, there is no fine art”. The theory of image consciousness also plays an important role in explaining aesthetic consciousness since the focus is on “the How of the image object’s depicting”. My aim is to accentuate the subject in image consciousness, rather than the image object. I want to show that whether the subject is involved in image consciousness or not makes the difference if we have a two-fold or three-fold experience of seeing-in. In this way, I can also compare Husserl and Wollheim’s theories of seeing-in: a comparison that has received minimal attention in the literature of pictorial experience until now. In addition, I aim to show that according to Husserl’s theory, the image subject is involved only in depictive image consciousness. Moreover, I try to show that it is more difficult to define the image subject than the image object for the subject cannot be equated with the referent. Lastly, I will point out that Husserl mentions the possibility that it is the appearance of the subject rather than the image object appearance that we are focused on in aesthetic consciousness. Another topic that has received minimal attention until now is Husserl’s idea that depiction is involved in the experience of theatrical performance. The latter is primarily used by Husserl as an example of non-depictive image consciousness. I will examine how depiction can be involved in the experience of a theatre play in the case of actors playing themselves onstage. I will show that, in light of this example, either Husserl’s theory of depiction need to be revised or we cannot say that depiction is involved when an actor plays a real life person. Again, the key issue is how the subject appears. Thus, I will try to apply Husserl’s theory of depiction in explaining our experience of theatrical performances. I will also try to use his theory of aesthetic consciousness in describing the experience of strongly site-specific art and point out what the difficulties are of using the idea of the limited synthetic unity of the aesthetic object in the case of strongly site-specific art which seems to have no prescribed margins that could correspond to the limitedness. In addition, I will show how Husserl’s phenomenology, especially the notion of horizon, can be used to define visual art. I will defend the view that an object of art can be defined as art through an external co-determining horizon – the artworld. My dissertation is divided into four parts. In the first part, I give an overview of the development of Husserl’s philosophy from the period 1989 – 1920s with a special focus on the development of the theory of image consciousness. In that part, I introduce the notions of depictive and non-depictive image consciousness. In the second part, special focus is on the depictive image consciousness or the theory of depiction. I will first explain the phenomenological approach to the experience of images and what the difference and similarities are between Husserl and Wollheim’s theory of seeing-in. Then I give more detailed description of the three objects or objectivities in image consciousness with the emphases on the image subject. Also, how the objects are related to each other: the necessary conflicts and a resemblance in image consciousness. Lastly, I will analyse Husserl’s claim that depiction might be involved in the experience of theatrical performances and I will show what the difficulties are of applying this idea in the case of a theatre play in which actors play themselves. In the third part, I examine Husserl’s theory of aesthetic consciousness. I will first point out how the notion of “aesthetic object” is equated with that of “work of art” by Husserl. Then I will show the similarities between the aesthetic attitude and phenomenological attitude in general, and how aesthetic consciousness differs from image consciousness according to Husserl. In this vein, I will point out the difficulty of defining whether, following Husserl’s texts, we are directed to image object appearance or the appearance of the image subject in aesthetic consciousness. Lastly, I will analyse Husserl’s idea of the limited synthetic unity of the aesthetic object and whether this theory holds in the case of the experience of strongly site-specific art. In the fourth part, I will give an overview of Husserl’s notes on art and his attempt to define art. The question whether every visual work of art must be an image is also addressed. The fourth part is divided into two sections. Firstly, I will show how some of Husserl’s commentators analyse artworks as analogues to or illustrations for Husserl’s phenomenology: how some works of art are doing phenomenology. Secondly, how Husserl’s phenomenology can be used to analyse our experience of artworks. In this section, I will examine Husserl’s claim that all works of visual art are images. Also, I will show how Husserl’s notion of the external co-determining horizon can be used to define art. Some material used in my dissertation has been published in the following journals: Proceedings of the European Society for Aesthetics, South African Journal of Philosophy, 2013), Kunstiteaduslikke Uurimusi, 2014), Postgraduate Journal of Aesthetics Spring 2014). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rembrandt’s Art: A Paradigm for Critical Thinking and AestheticsMark S. Conn (bio)IntroductionThe purpose of art is to lay bare the questions, which have been hidden by the answers.—James BaldwinPhilosophers have asked, How do we know the world? Over centuries, many visual artists have responded to this question by provoking us to see the world differently—through their own eyes. Rembrandt, by no small measure, is one of those artists. While (...) many people have attempted to understand and interpret the art of this quintessential master, few have used his art as a tool to teach critical thinking. The challenge, then, is to set forth a paradigm, using Rembrandt’s art as the vehicle, to teach critical thinking skills. These skills can be applied across the curriculum without losing an appreciation for the aesthetic characteristics of his art.Several sections in this article begin with a foundational discussion of the connection between art and the general curriculum, including how the effectiveness of that curriculum may then be measured. Continuing with a working definition of critical thinking, I demonstrate how Rembrandt’s work relates particularly well to the social studies curriculum. Definitions of critical thinking skills are discussed just prior to introducing the paradigm. A discussion of the paradigm’s relationship to aesthetics and necessary concepts is followed by the conclusion, which contains the graphic illustration of the paradigm. [End Page 68]Foundational DiscussionIn order to create a paradigm that encompasses Rembrandt’s art, critical thinking, and aesthetics, it is important to understand the connection that art has to the curriculum. By examining the way in which this relationship has evolved and is measured, we discover its foundation. It also produces a rationale for the paradigm.For decades the educational community has debated the validity of including arts in the curriculum. There are those who believe that in order to justify inclusion in the curriculum, there needs to be evidence that art has a quantifiable impact upon learning. Others believe that there is a need to teach art for art’s sake.1 Elliot Eisner stated, “More often than we would like, arts educators receive requests to justify their professional existence or existence of the arts in our schools on the basis of their contribution to non-art outcomes.”2 According to Eisner’s research, there have been no studies that show a statistically significant relationship between the arts and academic success.3 Additionally, in their final report evaluators from Transforming Education Through the Arts Challenge (TETAC) concluded that “Analysis of site-specific data found no significant relationship between program implementation and performance on reading and math tests.”4 There are many sources that can be cited that report the same findings. In assessing these kinds of findings we find the conclusions to be approximately the same.If we look at the U.S. Department of Education’s National Assessment of Educational Progress, which each year releases “The Nation’s Report Card,” we find a tremendous amount of data.5 However, most of what we find is data that is analyzed scientifically, with a long but incomplete list of incomplete variables. Therefore, it is difficult to come to any consensus about which programs, in which states, are successful and why. All we actually see is who is supposedly doing better in various curriculum areas based upon standardized tests that vary from state to state. Consider an example of current thinking regarding curriculum and testing from an article by Diane Ravitch, former assistant U.S. secretary of education, and Deborah Meir, senior scholar at New York University’s Steinhardt School of Education:Both of us acknowledged that our choices involve risks. A national curriculum might be unwieldy and superficial (“a mile wide and an inch deep—ironically the charge directed at our current incoherent and fragmented curriculum”) as well as politically compromised, while a local one might reflect the low expectations of the local community as local foolishness and local biases (some schools, for example, might teach intelligent design). We agreed that the measurement of “results”—what constitutes intellectual achievement—has been badly distorted by current local and state tests, which undermine high-quality tasks and make... (shrink)

The following text explores performative art works commissioned within a specific “arts and health” cultural setting, namely that of a medical school within a British university. It examines the degree to which the professional autonomy of the artists was “instrumentalized” and diminished as a result of having to fit into normative frames set by institutional agendas. We ask to what extent do such “entanglements,” feel more like “enstranglements,” suffocating the artist’s capacity to envision the world afresh or any differently? (...) What kinds of pressures allow for certain kinds of “evidence” to be read and made visible,? Are You Feeling Better? was a 2016 programme curated by Frances Williams, challenging simplistic expectations that the arts hold any automatic power of their own to make “things better” in healthcare. It included two performative projects – The Secret Society of Imperfect Nurses, by Anthony Schrag with student nurses at Kings College London, and Hiding in Plain Sight by Becky Shaw with doctoral researchers in nursing and midwifery. These projects were situated in a climate of United Kingdom National Health Service cuts and austerity measures where the advancement of social prescribing looks dangerously like the government abnegating responsibility and offering art as amelioration. The text therefore examines the critical “stage” on which these arts-health projects were performed and the extent to which critical reflection is welcomed within institutional contexts, how learning is framed, expressed aesthetically, as well as understood as art practice. It further examines how artistic projects might offer sites of resistance, rejection and mechanisms of support against constricting institutional norms and practices that seek to instrumentalise artistic works to their own ends. (shrink)

The issue delves into and extends across the sea by exploring critical art practices and methodologies at the intersections of performance art, new media and site-specific/installation art, that integrate ocean, waves, currents, tides, coasts, depths, sea objects/vessels or environmental conditions as vital agents of the artwork. It presents nine articles by artists and scholars whose art practice and research engages with performative, embodied, participatory and technological aspects of the sea by integrating processes of drifting, floating, standing, recording, transmitting (...) and mapping, which sink into and move across the sea but also take place in-between the permeable boundaries of coasts. (shrink)

I initiate the concept of ‘making-remote’ to capture various strategies for representing the human in late Palaeolithic cave art. Drawing out the role of remoteness within phenomenological accounts of perception (Husserl and Merleau-Ponty), as well as offering an analysis of a wide range of archaeological evidence, I argue that realism does not capture the specificity of these human representations. In contrast to naturalistic animal representations, humans are consistently represented with a high degree of abstraction e.g. schematisation and abbreviation. I also (...) argue for a site-specific distinction between deep caves and rock-shelters. Following Bourdier (2010) and Pinçon (2012), art at sites such as Roc-aux-Sorciers is best understood as stylised ‘public art’. Meanwhile, the highly expressive and realist art of La Marche is domestic in contrast to the exclusively symbolic art of deep caves. In conclusion I argue that ‘making-remote’ in cave art’s human representations exhibits complex relations to self and others. (shrink)

This article discusses listening that is appropriate to sound art and the associated changes in the paradigms, or thought patterns, that occur so often when we move from visual to aural perception. The distinction between historically accepted and rejected sounds is used to show how putting sounds in cages has fashioned a form of listening and of life. Twentieth-century experimental music and, especially, the music and the reflections of John Cage have opened these cages of sound and at the same (...) time weakened the visual paradigm for intellectual knowledge. This article examines sound art as a place where artistic practices coincide with certain theoretical issues centered on sound. The centrality of sound is approached first, and music and sound art are discussed in relation to space. Second, the attention to sound in the reception of prominent examples of sound art focuses on site-specific relationships with the city and with listening. The article concludes by affirming the need for an aesthetic reflection that takes into consideration the implications of these profound transformations. However, that is another cage yet to be opened. (shrink)

The article presents and discusses an ongoing fellowship project entitled ‘Space for Interference’, conducted under the Norwegian Programme for Research Fellowships in the Arts. Two concrete site-specific art projects produced under Space for Interference serve as a point of departure for an investigation into methods of interference and the forms of address that artists use when intervening in other specialized fields in society. The institutions that provide the site for an art project have different social functions. We (...) ask what may be their motivation for allowing artists access to their physical environments, apparatuses, procedures, systems and discourses. The fact that the artists’ projects in these contexts function as a means of self-observation for the institutions seems obvious. Nevertheless, we seek to investigate the various economic and political factors that allow these institutions to include potentially critical activities, which aim to modify or transgress their systems, and thereby displaying how they are malleable and mobile bodies. One assertion we make is that by doing so the involved institutions prove to be modern, self-critical and flexible, thus complying with political requirements to adapt to the rapidly changing environments of the information and communication age. The perspective from systems theory in the Luhmannian tradition has proved useful since it shows how the issues of art may also be the problems of science, business, politics and the law in the complex and decentered social universe of today. The issues of contingency, insecurity, paradox and autoreflexivity, surplus meanings and the complexity and decentering of the subject are at the heart of contemporary art. Systems theory provides a way to link such practices theoretically with scientific discourse and with the advanced problem solving and criticality of other social domains, like politics, business and the media industries. (shrink)

This paper points out the potential of using sport for the analysis of society. Cultivated human movement is a specific social and cultural subsystem, yet it becomes a part of wider social discourses by extending some of its characteristics into various other spheres. This process, theorised as sportification, provides as useful concept to examine the permeation of certain phenomena from the area of sport into the social reality outside of sport. In this paper, we investigate the phenomena of sportification (...) which we parallel with visual culture and spectatorship practices in the Renaissance era. The emphasis in our investigation is on theatricality and performativity; particularly, the superficial spectator engagement with modern sport and sporting spectacles. Unlike the significance afforded to visualisation and deeper symbolic interpretation in Renaissance art, contemporary cultural shifts have changed and challenged the ways in which the active a.. (shrink)

The contemporary theorization of art can be traced in a series of interlocking and antagonistic positions: the dissolution of art into social relations, the tracking of art as the work of objects that recede from our grasp, and the practice of art as instantiating or linking to an immanent plane. I take the question of immanence as central to these debates. This is because immanence implies a superior plane that exceeds specification or determination, and it also traces the problem of (...) capitalism as our horizon of immanence that threatens to absorb any such excess, whether that is artistic, political or ontological. Tracking the problem of immanence, I explore how it rests on the tension of a relation to immanence. Using the work of Gilles Deleuze I analyse this relation as existing in the tension between a moment of excess, often theological, and an immanent relation or fold. Returning to Deleuze's use of the early Sartre we find that Sartre offers a subtly different thinking of relations and immanence through exploring how we are cast out amongst relations and objects. I then use two of Sartre's later essays on art to examine his development of a “situated absolute”: the artwork as the site which condenses and gathers the contradictions of relations and objects into itself, precisely refusing immanence. This, I argue, offers the key to unsettling the coordinates of contemporary art theory by reinstating a thinking of the absolute as positional and at once immersed and antagonistic. (shrink)

What stands out when we blend in? Performing Ground is the first book to explore camouflage as a performance practice, arguing that the act of blending into one's environment is central to the ways we negotiate our identities in and through space. Laura Levin tracks contemporary performances of camouflage through a variety of forms - performative photography; environmental, immersive, and site-specific performance; activist infiltration; and solo artworks - and rejects the conventional dismissal of blending in as an abdication (...) of self. Instead, she contemplates the empowering political possibilities of 'performing ground,' of human bodies intermingling with the material world, while directly engaging with the reality that women and other marginalized persons are often relegated to the background and associated with the properties of space. Performing Ground engages these questions through the works of some of today's most exciting performance artists such as Rebecca Belmore, Liu Bolin, Janieta Eyre, and Violeta Luna, and groups like Gob Squad, Punchdrunk, The Yes Men, and Urban Mimics. (shrink)

This paper explores a possible connection between Aristotle’s defence of rhetoric as an art and his claim that its three kinds, deliberative, forensic and epideictic, necessarily take place in sites where citizens appear to one another as citizens. The argument is that only in such sites, and hence only in poleis, can speakers and audiences distinguish the internal norms of this, and indeed any other, art from external effects that, although they may be called rhetorical, are not artful or technikos (...) on Aristotle’s definition. That in making this argument Plato serves as Aristotle’s foil is suggested by allusions in the Rhetoric and other Aristotelian treatises to specific passages in Phaedrus and Statesman. The paper concludes by claiming that conditions for practising the art of rhetoric in the strict sense are as civic now as they were in classical antiquity. The media in which the art is practised may have multiplied, but when its civic nature is grasped the kinds into which Aristotle divides it appear not to have changed as much as might be thought. (shrink)

This article investigates the potential for new television as arts practice. It explores this potential by revisiting acts and sites of television's history through processes of enactment, specifically the reenactment of The Man with the Flower in his Mouth, the first drama broadcast by John Logie Baird in 1930. This took place in Baird's studio at 133 Long Acre, London. The article outlines key features of various possibilities for a “new” television and a new television arts practice and considers how (...) reenactment as an arts process might address the “trace” of historical television's archive, and in doing so also give it a particular contemporary relevance. Theorists of memory and storage are drawn upon to develop forms of thinking about television and performance as archive which are then drawn on to consider the prospects for reenacttv.net. Reenacttv.net is an art and television history project which will reenact The Man with the Flower in His Mouth in the summer of 2012. (shrink)

This chapter considers the potential of this kind of indigenous site-specific installation for thinking afresh the relation of contemporary inhabitants with the land in the Northern Plains region. 'Medicine wheel' is the name given since the late 1800s to a kind of boulder structure found in the Northern Plains of North America. Medicine wheels are often situated on knolls overlooking the prairie, and are mostly found in Alberta and Saskatchewan, and less frequently in Montana and northern Wyoming. The (...) medicine wheel of Steel a great Blood warrior was built in 1940 as a memorial. Moreover, reports from Native consultants indicate that the Big Horn medicine wheel may have been used for vision quests. Medicine wheels seem to be, in Foucault's terms, 'places outside of all places; in their resistance to interpretation according to instrumental notions, they return our gaze unto the prairies, turned denatured, overgrazed cattle pastures, and unto the once verdant river valleys, turned into flooded, mega-project water reservoirs. (shrink)

In 2017, the artist Dana Schutz presented her painting, Open Casket, at the Whitney Biennial. Both the painting and the painter were subsequently subjected to criticism from the art world. A central critique was that Schutz usurped the story of Emmett Till and that, as a white woman, she had no right to do so. Much can—and has—been said on the appropriateness of Schutz's painting. In this article, I argue that Open Casket is a site of oppression, an object (...) that both reflects and reinforces dominant racial hierarchies. Specifically, I argue that Open Casket is a case of what Linda Alcoff calls “the problem of speaking for others”: when a member of a privileged social group speaks on the social experiences of an oppressed group, effectively silencing that group. I explore the moral and epistemic implications of Open Casket and related works and provide some reasons to think that socially privileged persons should not depict the experiences of socially oppressed persons—at least in many cases. I conclude by presenting some conditions under which it may be appropriate for privileged artists to speak for oppressed groups. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rembrandt and Collections of His Art in America: An NEH Curriculum ProjectJoseph M. Piro (bio)IntroductionI have asked myself whether the short time given us would be better used in an attempt to understand the whole of the universe or to assimilate what is within our reach.—Paul CézanneThis issue of the Journal of Aesthetic Education features an arts education curriculum project that was designed to use the oeuvre of Rembrandt (...) van Rijn—seventeenth-century Dutch painter, etcher, and draftsman extraordinaire—as a teaching resource. A partnership of scholars, university professors, museum educators, and classroom teachers designed the project, which uses Rembrandt as the prism through which to diversify teaching of the core content areas of social studies and visual art. Members of this team attempted to expand the boundaries of themes traditionally found in art and other humanities disciplines by linking these with the social sciences, thereby forming what might be called “humanistic social studies.” The final product is a Web site to which teachers and those interested in using this type of instructional approach in their classroom teaching will have access. Funding for this project derived from a National Endowment for the Humanities (NEH) Curriculum Materials Development grant designed to promote the teaching of the humanities and support projects that can serve as national models.1In the eyes of many, Rembrandt is viewed primarily as a “European” artist. Although it is true that many of his major works are found in museums across Europe, he is generously represented in the holdings of collections across America. Yet for many teachers in the United States he remains an enigmatic figure; knowledge about his art is limited, and the U.S. museum collections of his work remain untapped for classroom application. To broaden the appeal and teaching potential of his work, the project team [End Page 1] mined this collection of “American” Rembrandts. Specifically, the project, targeted at secondary art and social studies teachers (grades 6 through 12), is committed to building and increasing the capacities of teachers to network knowledge of Rembrandt’s art with their classroom practice. Further, with its grounding in aesthetic education theory within a humanities framework, the project endeavors to promote instructional innovation and encourage teachers to break new ground in high-impact classroom pedagogy. The timing of the project and its ongoing development was not accidental. They converged with events held in 2006 to commemorate the four hundredth anniversary of Rembrandt’s birth. These events ranged from worldwide museum exhibitions to publications of books containing new insights on Rembrandt, all of this aimed at celebrating an artist whose achievements many consider to be a zenith of world culture.Why Rembrandt: The Rationale for the ProjectWhy is Rembrandt the artist at the center of this project? There are any number of good reasons, but the project’s rationale centers around three in particular. First, to borrow a term from Peter Kivy, Rembrandt is the ultimate “aesthetic symbol,”2 an indisputably blue-chip figure who produced some of the greatest masterworks of world art, many of which students find both intellectually engaging and psychologically insightful. Traditionally, teachers have striven to enrich the aesthetic lives of their students with exemplars of the human mind, and the genius of Rembrandt provides a potent opportunity to do so.3 By studying an artist of such stature teachers can develop students’ cultural intelligence and visual literacy and present opportunities to observe and decode substantive, challenging masterworks of art. In this context, Rudolf Arnheim describes a painting by Rembrandt as containing a network of “visual arrows” that communicate multiple experiences about the human condition, including love, tenderness, and desire, among others. Arnheim speaks of the additive nature of the experience, how the viewer—almost like a mathematician—needs to learn how to add up the clues and arrive at a solution. He does not intend, of course, for the viewer to have an impersonal, “clinical” experience. Rather, he writes, “art... is one of the most powerful instruments available to us for the fulfillment of life. To withhold this benefit from human beings is to deprive them indeed.”4Second, there is a cognitive complexity embedded in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Ethics and Economies of Inquiry: Certeau, Theory, and the Art of PracticeTony Schirato (bio) and Jen Webb (bio)In this paper we will look at what Certeau, in The Practice of Everyday Life, calls “Theories of the Art of Practice.” Certeau is perhaps best known as a theorist of the ways in which everyday practices inhabit the institutions and sites of power and official culture, while not being in (...) any sense recuperable or explicable to these “proper places.” In “Theories of the Art of Practice” he concerns himself not with cultural practices themselves but, rather, with the specific relationship between theoretical discourse and the object of that discourse. In order to do this he takes as examples certain cultural theorists—most obviously Foucault and Bourdieu—whose work is strongly underpinned by an emphasis on the relation between discourse and practice. He offers a detailed consideration and critique of their theories of practice and the tactics those theorists use to escape the theory/practice dichotomy.In the first two paragraphs of “Theories of the Art of Practice,” Certeau identifies the two points which, taken together, constitute the broad narrative of this section of Practice. The first relates to the theoretical basis from which we can approach practice. “Everyday practices,” he writes:depend on a vast ensemble which is difficult to delimit but which we may provisionally designate as an ensemble of procedures. The latter are schemas of operations and of technical manipulations. On the basis of some recent and fundamental analyses (those of Foucault, Bourdieu, Vernant and Détienne, and others) it is possible, if not to define them, at least to clarify their functioning relative to discourse (or to “ideology,” as Foucault puts it), to the acquired (Bourdieu’s habitus), and to the form of time we call an occasion (the kairos discussed by Vernant and Détienne). These are different ways of locating a technicity of a certain type and at the same time situating the study of this technicity with respect to current trends in research.[43]An important issue here is Certeau’s critique of the extent to which each theorist applies a specific technicity (Foucault’s disciplinary procedures, Bourdieu’s habitus) in an attempt to delimit the field, to reduce the multiplicity of practice—or the theorizing of practice—to a singularity. As he points out in his essay on Nicholas of Cusa [“The Gaze” 6], such “ways of proceeding are subject to a common problematics,” because they inscribe a particular way of thinking and seeing and, in that process, risk excluding other ways of understanding. However, Cusa’s praxis: [End Page 86]does not presuppose a language proper to theory, an autonomous metalanguage that would provide a distinct linguistic space for speculation.... A task related to each singularity liberates, as it were, and develops... the “impulsion” which is integral to each and which is revealed to be infinite by the very impossibility of finding a hierarchical unity among singularities.[“The Gaze” 7]What Certeau looks for in the work of Bourdieu and Foucault is the moment, or the “impulsion,” which allows a theoretical engagement with practice. If practice can’t be called up, defined, or finally explicated, what can be done is to plot the relationships between power and its structures, logics, places, and discourse and the objects of power (practices) it seeks to identify and regulate. This allows us to identify both how power seeks to exclude the heterogeneity that is practice and the ways in which practice, despite these acts of exclusion and regulation, leaves its mark on official places (discourses, institutions, the objective structures of cultural fields). What Certeau does is to explore how others (Foucault and Bourdieu in particular, Vernant and Détienne) have explored this terrain.The second move Certeau makes is to contextualize those theories of practice, not so much as metadiscourses or generalized maps but as practices themselves, specific to a time and place and informed both by their theoretical antecedents and by the politics, logics, and discourses of the field(s) within which they operate. This allows Certeau to exemplify both how bodies of theory (as well as intellectual fields) come about and develop and... (shrink)

The Seven Heavenly Palaces were created by Anselm Kiefer to inaugurate the HangarBicocca in Milan in 2004, and, after an intervention on the site in 2008, were transferred, preserved and repaired, finally relocated differently for a new and definitive exhibition, with some paintings, in 2015. Erected around prefabricated containers, these monumental ruins in reinforced concrete, are in fact assembled, reconstructed and restored ruins, nonarchitectural and metaphorical buildings with a mass of complementary materials considered an integral part of the work (...) and credited as produced by the artist in person. According to what preunderstandings and values the operation of conservation and operation has been established and carried out ? According to which idea of the ontological, perceptual and semantic identity of the work of art the aesthetic experience of this high problematic site-specific installation has been reconfigured ? (shrink)

There is an increasing number of voices—both in the relatively new academic field of film scholarship and outside it—claiming that film could be or even should be studied within science as opposed to the humanities. Among them, one finds some of the most distinguished film scholars teaching in film, literature, art history, or visual arts departments; their core argument is that their specific field needs to become more scientific. A craving for disciplinary rigor in the humanities is as old (...) as Plato’s attack on rhetoric and poetics. In the era of constant academic assessment exercises, however, this craving for measurable results seems like a simple survival instinct. Still, what Plato had not dreamt of (and... (shrink)

The article is an investigation into theatricality from various standpoints in order to focus on different views on theatricality considered as partially emancipated from theatre and to verify if and to what extent each of them can apply to installation artworks as environments and intermedial devices. Ultimately the article propounds the idea of a paradoxical anti-theatrical theatricality of installation art, grasped in its very connection to site-specificity, critically engaging Martin Heidegger’s insights regarding the «Gestell» and the «work-being» of the (...) work of art, as a general theoretical basis through which a particular focus of ‘specificity’ of installation is endorsed. (shrink)

How did medieval art frame the desert as a sacred space? The twelfth-century Klimax panel, today at St Catherine’s Monastery in Sinai, offers insight into this question. Inspired by John of Sinai’s Klimax (or Ladder), the work depicts monks in a cosmic struggle unfolding in the desert. It has long been associated with a site-specific “Sinai style”, even as a depiction of the St Catherine’s surround itself. This essay reconsiders the relationship between both the painting and John of (...) Sinai’s text, as well as the desert landscape. It shows that the work is a product not of Sinai but of Constantinople, and that it was meant to serve as an encomium of a monastic founder from the city. The work’s initial audience were urban monks who likely never engaged in monasticism in the desert. Why, then, did the panel pose so anachronistic adepiction of desert monasticism? The painting was not just encomiastic but also exemplary: the desert’s vast space served as a meditative model for the monastic mind. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Layers of Seeing and Seeing through Layers: The Work of Art in the Age of Digital ImageryLouisa Wood Ruby (bio)Even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space, its unique existence at the place where it happens to be. This unique existence of the work of art determined the history to which it was subject throughout the (...) time of its existence. This includes the changes which it may have suffered in physical condition over the years as well as the various changes in its ownership.—Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction, 1936In consulting on or creating a Web site designed to use works of art for teaching purposes, it is extremely important to be aware of the differences between seeing an artwork “in the flesh” and in reproduction. Museum educators are highly aware of this disparity and are therefore eager to have students visit museums to experience authentic works of art instead of seeing them only in books, slides, or on Web sites. Already in 1936, Walter Benjamin called attention to the drawbacks of reproductions; his words resonate all the more in our age of digital image overload. Easy access to images is, of course, desirable, and the advanced technologies we now have can even aid our understanding of a work of art. Nonetheless, the physical experience of standing in front of a work of art can never be replicated by seeing it on a flat screen or a piece of paper. In this article I will examine the advantages, disadvantages, differences, and similarities between looking at a Web-based image of a Rembrandt painting, a photograph of a Rembrandt painting, and actually standing in front of one of his original works. I will also discuss the more advanced technologies for examining paintings and how they can help us “see” further into a work of art and increase our understanding of it. [End Page 51]When standing in front of a painting, you are seeing a three-dimensional object with a history of its own. Its nicks, the dings in its frame, its true colors and texture, its exact size, the quality of the brushstrokes, and the amount of paint are all visible to the careful observer, who stands in a long line of viewers over the centuries who have appreciated the artist’s achievement. When approached from different angles, a painting in real space can even seem to vary in the mood it conveys or the impression it gives. A striking demonstration of this phenomenon occurred during a recent visit to the Metropolitan Museum of Art, when Rika Burnham, a museum educator, divided our Rembrandt Project group in half and asked us to look at Rembrandt’s 1660 Self-Portrait from different angles and describe the sitter’s mood. When we compared notes, our impressions of the painting were so different that an outside listener would have thought we were looking at two completely different paintings. We then switched angles, and our respective impressions changed dramatically. Effects of light (shadows, highlights, color) and interpretations of elements in the painting, such as the hand or the hat, had been affected by the angle from which we had approached the work, and these minor adjustments had significantly altered the way we “read” the painting.This kind of experience is of course not possible when looking at a photograph of a work of art. A photograph can be very useful and can usually tell you much about a painting, but, unfortunately, the photograph itself is an object that was taken at a specific time and place, under specific circumstances that might or might not be ideal for capturing the essence of what it is trying to reproduce. Because the angle from which a photograph is taken remains static, it only allows us to experience the painting from one direction, under the given set of lighting conditions. Other problems abound. Two color reproductions of a given painting will more than likely offer wildly different color tonalities because photographs and reproductions in many publications imperfectly correct for color. Lighting of the painting may... (shrink)

Katharina Grosse’s It Wasn’t Us was on show at the Hamburger Bahnhof Museum in Berlin, between 14 June, 2020 and 10 January 2021. In the main hall of this nineteenth century train station, now a museum, stood massive, abstractly sculpted, kaleidoscopically painted Styrofoam blocks; parts of the main hall floor, of the outdoor space behind the building, and of the façade of the museum’s extension were also painted kaleidoscopically. Here I shall examine three aspects of this work: its relationship with (...) pictorial, sculptural and architectural works; its links with the Hamburger Bahnhof building; and its interactive character. (shrink)

continent. 1.4 (2011): 253—278. A Sense of French Politics Politics itself is not the exercise of power or struggle for power. Politics is first of all the configuration of a space as political, the framing of a specific sphere of experience, the setting of objects posed as "common" and of subjects to whom the capacity is recognized to designate these objects and discuss about them.(1) On April 14, 2011, France implemented its controversial ban of the niqab and burqa , (...) commonly referred to as the Islamic veil, in public places. On the coattails of the 2004 prohibition of religious artifacts, including the less concealing hijab or Islamic headscarves, in schools, the veil ban sparked equal outrage across both political and theological spectra, and many on both sides of the debate were quick to inquire about enforcement. As Steven Erlanger reports, “The police do not have the authority under the law to remove full veils, only to fine or require citizenship lessons for those who violate the new law.”(2) While the legal and social implications of this interdiction are ripe for study, the reprisals for breaking the law, notably compulsory citizenship classes, illuminate the strategic governmentality underlying the French government's targeting of the Muslim community, particularly those elements it considers affiliated with fundamentalist factions and/or terrorist organizations, if only through fashion—an integral component of French citizenship. Indeed, in allowing the (fashion) police to mandate instructional courses in citizenship for offenders, France implies that any Muslim choosing to wear the niqab or burqa , perhaps even for those who are already citizens, must not be aware of the subtle nuances of dress indicative of the French citizenry within public space. Furthermore, the degree of instruction requisite to citizenship, which clearly can and must be updated as the state sees fit, cements the imagined relation between citizens and states within the discourses on the veil ban. As Sharma contends, “Concepts of citizenship are the ideological glue that bonds the nation to the state. Citizenship provides the legal framework through which the state performs its role as ruler for the nation.”(3) Speaking for/as the state, French President Nicolas Sarkozy declared in a 2009 presentation before members of the government and other citizens that the burqa “is not welcome on the territory of France.”(4) Although there is nothing unique, especially recently, about a nation-state taking extreme measures to guard itself against what it deems to be threats to its sovereignty, the way in which the ongoing discourses on hijab have (d)evolved, which coincide with recent pronouncements by governmental leaders in Germany, Britain, and France that policies of multiculturalism have “failed,”(5) points toward nationalist reterritorializations, which is also to say physical and ideological re-appropriations, of public space within democratic milieux, which remain predicated upon the mediation of spaces. As Panagia deduces from Rancière, “Democracy […] is not an institutional form of government […], but an appearance whose visibilities and audibilites arise out of the dissonant blur of the everyday.”(6) Ultimately, the veil ban represents a calculated move to regulate the every day, which is to say the micropolitics of, that which is visible and invisible within French society, which makes it nothing short of a struggle to manage (the sensation of) bodies. Re-situating the political within the context of sense, Rancière argues that the fundamental essence of politics lies within the distinction between consensus and dissensus , and whereas most consider politics proper as fundamentally concerned with the fluid operations of the state— consensus , Rancière actually locates the political within events that disrupt the normative sensory order of things— dissensus . He explains, “Politics revolves around what is seen and what can be said about it, around who has the ability to see and the talent to speak, around the properties of spaces and the possibilities of time.”(7) This reformulation of politics centers on agency and, albeit perhaps unintended, representationality and offers a useful formulation for spatializing the discourses surrounding the Islamic veil, which are mired within seemingly senseless policies and practices of objectification. Instituting a normative “regime of visibility,” the French veil ban encapsulates the political economy of agency, now both mediated and representational, under the rule of nationalist governmentalities in increasingly transnational contexts.(8) Adjudicating presence within public space signals a concern with the sensory aspects of agency itself—what Rancière terms the “distribution of the sensible,” which is “a matrix that defines a set of relations between sense and sense: that is, between a form of sensory experience and an interpretation which makes sense of it.”(9) To be concerned with sense is to focus upon the body, and this somatic repositioning of the (fashionable) citizen within the territory of the state augurs the resurgence of nationalist bio-politics within Europe, since, as Hage explicates, “Nationalism, before being an explicit practice or a mode of classification, is a state of the body. It is a way of imagining one's position within the nation and what one can aspire to as a national.”(10) The French government's attempt to make (bodily) sense of public space for its citizens by and through policies aimed against a burqa-clad Muslim minority, which might only apply to “less then 400 to fewer than 2,000” women(11), reveals the necessary, yet mercurial, transmutation of public space into national space through bio-political strategies of sense-making, which, as Hage observes, denotes that “nationalists perceive themselves as spatial managers.”(12) At the center of this concern over public space is the equally contentious dimension of governing female Islamic identity, which has become one of the main critiques levied against Islam from outsiders who view the veil in its various forms as a clear sign of the religion's actual and symbolic violence against women, even if such critiques remain ensconced within nationalist discourses. As Halim and Meyers argue, “Although Western news media may focus their coverage of Muslim women on the debate over whether and the extent to which the veil may by oppressive to the women who wear it, they have exhibited little interest in the physical oppression of violence against women in Islamic countries.”(13) While it falls outside of the scope of this analysis to arbitrate all of the dimensions of this debate, understanding some of the issues related to female identity and hijab within public space are crucial to this study. As these topics are extraordinarily complex, even and perhaps especially within the Muslim community, it is necessary to provide some context concerning the value, purpose, and meaning of the Islamic veil, which has a rich and arduous history. The Art of the Veil At present, there are only two countries, Iran and Saudi Arabia, that require women to wear hijab , which is a decidedly problematic term and concept whose locus is itself caught within a struggle of sensation. Noting the strategic reterritorialization of the term, Berger explains: The choice of the name, hijab , now widely adopted to designate the “Islamic veil,” it itself interesting, although the semantic shift it operates is not directly commented upon by its users. Although the design (both the cut and the symbolic function) of the hijab and the Iranian chador are indeed the same, as opposed, for instance, to the traditional Algerian haik , the word hijab has come to replace the term chador popularized by the Iranian revolution, as a properly Arabic (hence Koranic) designation. This discursive shift points to the successful reclaiming of the national revolution in Iran by a transnational pan-Islamic movement, whose language of reference can only be Koranic Arabic.(14) While the hijab is certainly a point of contention within various countries dealing with immigrant Islamic populations (of which France has the largest in Europe as part of its colonial legacy in Algeria), it is clear that the veil is a historically contextualized artifact of Muslim identity with a variety of manifestations, even as forces outside of and within Islam seek to codify its actual and symbolic value. Ultimately, the varieties of hijab , including the full-faced burqa and niqab , are complex assemblages of meaning that speak to the multitudinous flows of Islamic identities over time and space. As Gökariksel and McLarney observe, “Wearing a certain style of veil may simultaneously be a disciplinary practice crucial to the cultivation of piety (Mahmood 2005; Gokariksel 2009) and a gendered performance of social distinction in terms of class, taste, and urbanity (White 1999; Navaro-Yashin 2002; Gokariksel and Secor 2009) or of ethnicity and race (Dwyer 1999).”(15) The ideological marketplace from which the varieties of hijab ebb and flow serves both as a reflection of the ever-present materiality and dynamic functionality of spiritual economies, which are derivative of the equally ubiquitous flows of transnational capital driving agency and representationality within our historical moment. Keeping these dual, yet deeply interconnected, capital ecologies as the site of exploration for how the veil is represented within public space, one might begin to sense what lurks behind such veiled agendas. Examining the symbolic and representational nature of the Islamic “veil” in its various forms, this project situates the decidedly political contestations of public space at stake in the French ban alongside recent condemnations of multiculturalism as calculated efforts to re-distribute the sensible so as to valorize national identity within increasingly transnational and globalized socio-economic spaces, which collapse exchange values between distinct, yet interwoven, economies of (cultural/material/spiritual) capital. As the discourses on the veil rely upon representational imag(in)ings, it seems fitting to explore the political economy and art of the veil through the phenomenon of street art, which, much like hijab , is a complex assemblage of meaning of sensation mired in representationality and capital exchange. As street artists have taken up hijab in various forms, the movement offers a lens with which to situate critical responses to the veil debate across both spiritual and material economies. Situating this street art both aesthetically and historically, Lewisohn explains, “'Street art' is a sub-genre of graffiti writing and owes much to its predecessor. Though there is a good deal of crossover between the genres, they are distinct and separate in their own right.”(16) Evolving out of the graffiti explosion of the late 1970's and 1980's, street art broke the unspoken rules of the artistic underground by challenging and re-examining one's sensory experience of art in public space by experimenting with both content and form in ways that harken back to the Situationist International, which as a collective challenged one's experience of urban space through various media and experiential phenomena. Again, Lewisohn observes, “It's important to note street art's break with the tradition of the tag, and its focus on visual symbols that embrace a much wider range of media than graffiti writers would use.”(17) From stencils to prints and murals to one-liners, street artists developed a reputation for critical social and political commentary, and while it is certainly the case that not all street art is intentionally political, in challenging the normative “regime of visibility,” as Rancière puts it, of public space, street artists—even if unconsciously—call into question the common sensory experience of the politics underlying the formation of (nationalist) space.(18) Indeed, Rancière refers to the partisan sensory managers as “police,” who ultimately forge “the rules governing the circulation of appearances, of their visibility and audibility, and the proper distribution of bodies therein.”(19) As such, one can sense that street art's relationship with the police is tenous for a variety of reasons. Writing about his own experience as a street artist, Shepard Fairey observes, “With street art, there's no committee deciding whether I can put my work up on the street, there's no censorship, and I have total freedom of expression, and that concept of freedom is expressed just by using the street as a medium.”(20) As Fairey and other street artists demonstrate, the medium, to paraphrase Marshall McLuhan, is the most glaring aspect of street art's message, and even as it now finds itself in galleries and usurped by private collectors, the ethos of the movement remains relavent to politics as it is, first and foremost, concerned with the configuration and experience of space. Just as examining the punishments for breaking the veil ban can map the terrain of French politics, a representational genealogy of street artist's deployment of hijab and female Muslim identity can assist in mining the depths of public space as a site of bio-political control and contestation in light of recent events in France and the rising tide of anti-multiculturalist rhetoric across Europe, even though the Islamic presence there is radically heterogenous. Using the work of Shepard Fairey, Princess Hijab, br1, and Banksy, this paper sets out to answer a number of key questions concerning the deployment of hijab, and female Islamic identity in particular, within street art as a movement now integral to and critical of the economies of exchange underlying global capitalism, which as a force of influence cannot be underestimated as a driver in the resurgence of nationalist biopolitical governmentalities. Although there exists a litany of artists to choose from, the aforementioned quartet of designers integrate hijab into their work in a seminal and critical fashion, and all have been working with the veil in some way prior to the French ban, which grants some additional context to their usage of it as a symbol in regards to the breakdown of multiculturalism across Europe, even if unconsciously. Although each artist depicts various amalgamations of hijab in their respective corpus, they share common tropes that raise significant questions concerning the veil debate, namely: what are the conditions of possibility for hijab to become a marker of Islamic identity within public space? How can we make sense of the representational topologies within street art's utilization of the hijab and female Islamic identity in light of the French ban? How might these aesthetic imag(in)ings simultaneously inhabit and combat normative discourses concerning hijab , multiculturalism, female Islamic identity, and public space? With these considerations as a backdrop, it is first necessary to outline more fully the hijab as a representative marker of female Islamic identity. The (Veiled) Writing on the Wall

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This article explores the transformative power of art circulation by analysing surprising narratives of abducted fountains across the early modern Mediterranean area under the political influence of the Spanish Empire. The object of this study will be the stories of Italian fountains stolen by Spanish viceroys or rescued during naval skirmishes between the Holy League and the Ottoman Empire. These narratives reveal a widespread desire for fountains throughout the Mediterranean, which generated a sequence of geographical relocations and cultural translations. My (...) aim is to conceptualise the desire for Italian fountains as an engine for continental circulation, taking into consideration several cases of stolen, abducted, or captive works of sculpture whose stories navigate the dubious boundaries of historical truth and resemble more popular episodes of thefts of relics or the kidnapping and trafficking of enslaved people. Sometimes demonstrable facts, sometimes charming legends linked to the suggestive power of water, these episodes disclose the life of monumental art in motion and subvert the widespread reading of fountains as site-specific objects. (shrink)

The City is a dynamic living narrative, an unfolding autobiography, a melding of countless invisible stories; unravelling not in words but in movement, fear, desire, need, coupling the daily of living. The city seen is a narrative; meaning definition is found not in the narrative but in the illegible depths of the unseen city. Art practices of every kind are one fragment of the ever-unfolding narrative. New technological possibilities have also revolutionized the way the narrative of the City can be (...) ‘told’ and ‘reproduced’. Narrative is transcribed into a new cultural code through technological advances. Many works of art tell stories; indeed, most of the humanities involve stories. This article is going to study a number of innovative projects in digital art: locative media and interactive media. They all reveal how City is seen by them through their ‘stories’ and narratives. It will explore further the role of story-telling processes. All projects are site specific, participatory and interactive. They also have the capacity to map hybrid city in a mobilized and digital world. How do we picture urban life and formulate our experience of it? How can this experience be reflected via new technologies? Do new ways of narrative and story telling emerge through new technologies? How does audience respond to these practices? Can these practices be a cinematic means of digitalized story telling? These are some of the questions that will be answered in this article. (shrink)

Produites entre 1967 et 1974, les Organisations d’espaces de Jean-Michel Sanejouand constituent un exemple d’installations avant la lettre. Les définissant en opposition par rapport aux pratiques artistiques traditionnelles, notamment la sculpture, leur auteur a l’ambition d’induire de nouvelles relations entre l’intervention artistique, l’espace qui l’accueille et les personnes qui en font l’expérience. Notre analyse se propose d’exposer de quelle façon ces relations sont mises en œuvre par l’artiste et de pointer leurs singularités. Il s’agit d’abord de revenir sur les circonstances (...) qui amènent Sanejouand à faire du rapport à l’espace la donnée centrale de ses interventions et à tourner le dos à la production d’œuvres autonomes déplaçables au profit d’une pratique in situ. Ensuite, l’investigation porte sur les qualités des matériaux présents dans les Organisations d’espaces et sur la manière dont l’artiste les utilise. Si certains matériaux sont présents antérieurement dans son œuvre, nous montrons comment l’artiste cherche désormais à déplacer l’attention de l’objet vers ce que celui-ci révèle ou perturbe dans le lieu où il prend place. L’observation menée permet ainsi de mettre en lumière une différence qualitative dans la prise en compte du lieu au sein des Organisations d’espaces, par rapport aux œuvres précédentes de l’artiste. Enfin, l’action menée sur le lieu et son but sont interrogés. La volonté de Sanejouand de désaliéner l’individu permet de comprendre pourquoi celui-ci conçoit les Organisations d’espaces comme des expériences perceptives qui font des lieux et de leur stabilité des espaces, pour reprendre les distinctions posées par Michel de Certeau. Produced between 1967 and 1974, Jean-Michel Sanejouand’s Organisations d’espaces are an example of installation art before the term existed. Defining them in opposition to traditional artistic practices, especially sculpture, their author has the ambition to induce new relationships between the artistic intervention, the space that welcomes it and the people who experience it. Our analysis proposes to expose how these relationships are implemented by the artist and to point out their singularities. First of all, it is a question to return to the circumstances that lead Sanejouand to make the relationship with space the heart of his interventions and to turn his back on the production of autonomous works that can be displaced in favor of a site-specific practice. Then, the investigation focuses on the qualities of the materials present in the Organisations d’espaces and on the way in which the artist uses them. If some materials are previously present in his work, we show how the artist now seeks to shift the attention of the object towards what it reveals or disturbs in the place where it takes place. The observation carried out thus provides the possibility to highlight a qualitative difference in the way Organizations d’espaces take into account the places, compared to the previous works of the artist. Finally, the action carried out on the place and its purpose are questioned. Sanejouand’s desire to de-alienate the individual makes it possible to understand why he conceives Organisations d’espaces as perceptive experiences that turn places and their stability into spaces, to use the distinctions put forward by Michel de Certeau. (shrink)

This chapter is perhaps best treated as a ‘site’ rather than a treatise. It employs disrupted writing strategies, based in turn on ‘walking’ practices and the authors’ background in performance, as tools for playful debate, collaboration, intervention, and spatial meaning-making. The chapter, like our walking, is intended to be porous; for others to read into it and connect from it and for the specificities and temporalities of sites to fracture, erode, and distress it. It draws on the outcomes of (...) previous works including site-specific performance works such as Mis-Guided Tours or published Mis-Guides, ‘drifts’, mythogeographic mapping, public art or installations, explorations of the Wienfluss, excavations of subterranean library stacks, and a recently installed network of plaques across an English seaside resort. (shrink)

In 2014, Brett Bailey’s Exhibit B site-specific installation created a media storm and protests throughout Europe. One such protest was in London, leading to the cancellation of his show at the Barbican. Consternation caused by art work is not a new phenomenon, and indeed one of the enduring purposes of art is to push the boundaries of acceptability and to show sights that are normally kept hidden from the public gaze. From some of the Impressionists’ exhibits to twentieth (...) century art works such as Andres Serrano’s Piss Christ in 1987 and Chris Ofili’s The Holy Virgin Mary 1996, art has caused offence in a variety of ways. This article examines Exhibit B to identify the reasons for its reception. In broad outline, as a white artist his presentation of black oppression was regarded at best as naïve and at worse as culturally inappropriate. (shrink)

At the Barnes Foundation in 1931, Matisse undertook the painting of a large decorative panel entitled La Danse. Its stakes are considerable: the disqualification of the painting-form and the drawing-genre, in favor of an environmental art infused with a decorative vitalism that redefines the architectural function itself at the deepest level, beyond any question of site-specificity.

In lieu of an abstract, here is a brief excerpt of the content:Taking Up Space:Museum Exploration in the Twenty-First CenturyTiffany Sutton (bio)Museums have become a crucible for questions of the role that traditional art and art history should play in contemporary art. Friedrich Nietzsche argued in the nineteenth century that museums can be no more than mausoleums for effete (fine) art.1 Over the course of the twentieth century, however, curators dispelled such blanket pessimism by showing that what keeps historical art (...) museums, both comprehensive and modern, "alive" and relevant in the modern art world are the things that curators do with the artworks in their collections.2 In certain cases, I will argue in this article, the focus on artworks and the relationship between them can be rewardingly shifted onto the spatial aspect of the museum. I will try to show what such a shift of focus entails, show that it involves a gestalt shift (in Wittgenstein's terms, the "dawning of an aspect"), and illustrate the limits within which this can arise.3 The foremost of these limiting factors is museum architecture, and I will discuss this to the extent that it determines the limits of what curators can do. How architects do things with museums, however, lies outside the scope of this article.An Art Historical Heuristic Gets a Curatorial MakeoverNineteenth-century art museums typically were vast, labyrinthine, and built to assume the shape of a comprehensive art historical narrative, so they were easy targets for ideologues drawn to vibrant modern artworks and the controversy surrounding them. At the turn of the twentieth century new commercial galleries developed a distinctively modern mode of display in which individual artworks were showcased with plenty of space around them.4 Had existing museums changed their ways to accommodate these developments, the momentum of a new aesthetic of flatness, surface, [End Page 87] and yet purer forms of conceptualism would have been lost. It was not a time for absorption and deflation: new museums, no less monumental and historical but smaller and with fewer volumes, were commissioned to give modern art the appearance of a fresh start.5 The weightless upward mobility of Frank Lloyd Wright's Guggenheim Museum in Manhattan, modeled in 1945 and opened to the public in 1959, consummated this trend of the first half of the twentieth century and gave it its purest form. What the building spurt revealed was that as art changes, it demands to be reflected in its surroundings, not merely accommodated. That the response was to build new museums rather than new wings suggests the inner workings of the principle—call it "curatorial heuristic one"—that, whereas art history is fluid and simply flows forward with new developments, museums are not of this nature; they can become effete.The curatorial revision of this heuristic was a century in coming. As often happens when emerging movements are yet underdetermined, modernism suppressed in its beginnings the background factor that would seem to entail the end of modern art when finally brought into focus: the very context of display that had once set it apart. Duchamp's Readymades (1913) gave the initial nod (or wink) to the gallery context; it was, however, ignored, as a suppressed punch line, until art history was ready to concede the importance of the context of display—not in the gallery, but in the museum—to a site-specific artwork by Richard Serra: his Splashing and Prop (1968). With the museum's framing context and, concomitantly, the importance of the curator's work conceded, the barrier that had kept lesser masterpieces in the basement (or out of the museum) were removed. Unearthed, these began to circulate, and attention centered on the relation in which they stood to better-known artworks, either as suppressed alternates or as descendants of an artistic lineage. So postmodern sprawl began, with the display of multiple alternative art histories drawing, as modernism had, on available display conventions for periodizing according to internal principles (period, school, genre, style) such that detection of them devolved upon the viewer.When public uses for the new public museums began to diversify (from an historical/educational focus to aesthetic/educational and cultural/political ones), principles for ordering artworks were... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Waiting for Godot in New Orleans A tragicomedy in two acts, a project in three partsPaul Chan Click for larger view View full resolutionDrawing of “stage” (2007) (Page 2) Click for larger view View full resolutionOrganizing map of New Orleans 1 (2007) (Page 14) Click for larger view View full resolutionDrawing of bicycle for Pozzo (2007) (Page 28) Click for larger view View full resolutionDrawing of shopping cart for (...) Lucky (2007) (Page 40) Click for larger view View full resolutionDrawing of tree (2007) (Page 54) Click for larger view View full resolutionDrawing of disaster tour bus for boy (2007) (Page 68) Click for larger view View full resolutionStreet sign on St. Claude (2007) (Page 81) Click for larger view View full resolutionStreet sign in Lower Ninth Ward (2007) (Page 93) Click for larger view View full resolutionStreet sign in Gentilly (2007) (Page 107) Click for larger view View full resolutionFlyer (2007) (Page 124) Click for larger view View full resolutionDancing before the 1st Lower Ninth Ward Performance (2007) (Page 138) Click for larger view View full resolutionJ. Kyle Manzay and Wendell Pierce in Act I (2007) (Page 150) Click for larger view View full resolutionDrawing of entire project as a musical score (2007) (Page 165)ImagesPaul Chan lives and works in New York. His recent solo exhibitions have been presented at the New Museum of Contemporary Art, New York (2008); Serpentine Gallery, London (2007); Para/Site Art Space, Hong Kong (2006); UCLA Hammer Museum, Los Angeles (2005); and ICA Boston (2005). Group exhibitions include The 2006 Whitney Biennial, Whitney Museum of American Art, New York; New Work / New Acquisitions, The Museum of Modern Art, New York; Eighth Biennale d’Art Contemporain de Lyon, France (2005); Carnegie International, Carnegie Museum of Art, Pittsburgh (2004). Chan is also well known for his political interventions—in 2002 he broke US sanctions and federal law to visit Baghdad, and in 2004 he garnered police attention for The People’s Guide to the Republican National Convention, a free map distributed throughout New York to help protesters to get in or out of the way of the RNC. Most recently Chan collaborated with the Classical Theatre of Harlem and Creative Time to produce a site-specific outdoor presentation of Samuel Beckett’s play Waiting for Godot in New Orleans.Artist statementWaiting for Godot in New Orleans A tragicomedy in two acts, a project in three partsby Samuel BeckettEstragon Vladimir Lucky Pozzo a boy City of New Orleans in 2007ACT IEight months research. Four months teaching and street organizing. Five free site-specific performances.ACT IIA country road. A tree. Evening.Copyright © 2008 The Johns Hopkins University Press... (shrink)

Site‐specific or target‐specific mutagenesis of viral DNA genomes, using a selectable marker system is a powerful tool for the analysis of the function of specific regions of large DNA genomes. Through these techniques the construction of vectors capable of delivering vaccines for the prevention of infectious disease in humans and animals is possible.