Tag Archives | Art

Sawdust and Threads

Laurie Ingram, Material And Visual Culture, UCL

 

Sawdust and Threads is a residency and exhibitions programms that takes de-accessioned museum objects as its material. Artist Caroline Wright has undertaken residencies at three different museum collections and selected objects that have been de-accessioned. For Sawdust and Threads, Caroline has made detailed drawings of each of these objects that are then carefully and painstakingly deconstructed. The drawings as well as the objects from the different collections accompany the artist in the space where the process of deconstruction unfolds. The project poses questions around the nature of museum collections. Who owns these objects and how is the value of an object defined? Is value being removed or re-ascribed during this process of deconstruction?

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Heidelberg Summer School: Walking the Line – Art of Border Zones in Times of Crisis

Via Christiane Brosius, University of Heidelberg

The Cluster of Excellence “Asia and Europe in a Global Context” welcomes applications for the Summer School “Walking the line – Art of border zones in times of crisis.” It will take place from July 26 to 31, 2015 at Heidelberg University in Germany.

The summer school will engage with the production, circulation and the disruption of art and visual practices as they navigate the (thin) line between creative and destructive impulses in times when wars, struggles for national independence and conflicting ideologies result in border contestations and territorial partitions. These crises produce both immediate and enduring physical, economic and political consequences for persons living within affected regions, including flight from one’s homeland, traumatic histories left unprocessed between generations, and the elaboration of repressive political systems and surveillance.…

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CFP: Studies and Dialogues between Anthropology and Art

We are pleased to announce the Call for Papers and Visual Projects for the Conference Studies and Dialogues between Anthropology and Art organized by the Pontificia Universidad Católica del Perú. The conference will take place in Lima on November 19 -21, 2014.

The keynote speakers for our conference will be Dr. George Marcus, Chancellor´s Professor of Anthropology at University of California Irvine, and Dr. Fred Myers, Silver Professor of Anthropology at New York University.

The deadline for submissions is August 05, 2014. The language of the Conference will be Spanish. For more information and conference updates, please visit our website at seminario.pucp.edu.pe/antropologia-arte/

We look forward to submissions!

Regards,

Giuliana Borea, Conference coordinator

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Materiality in Japan: Making, Breaking and Conserving Works of Art and Architecture

April 11, 2014

Institute of Fine Arts, New York University

Organized by Anton Schweizer, 2012-2014 IFA/Andrew W. Mellon Postdoctoral Fellow
RSVP is required. Please find instructions below.

Japan is widely regarded as an exemplar in terms of the preservation of material integrity, the perpetuation of historical production techniques and the responsible preservation of works of architecture and artifacts in museum contexts. The Japanese certification system for Cultural Property – which also includes the category of Living National Treasures for specialist craftsmen who embody manufacturing techniques as Intangible Cultural Property – has earned far-reaching acclaim. It is frequently overlooked, however, that there is actually a wide range of divergent approaches towards originality and authenticity even in contemporary Japan. While some of these inconsistencies find their counterparts in the West, others are related to pre-modern cultural practices, e.g.…

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Call for photos of intriguing museum display structures

Jes Fernie, Independent Curator, History Rising Project,

We’d like you to send us your photos of museum display structures from across the world.  These could be from your local museum, trips abroad or from your academic research.…

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The Distributed Effects of Alfred Gell

Distributed Object

Book Review:

Distributed Objects: Meaning and Mattering after Alfred Gell.

Edited by Liana Chua and Mark Elliot

Berghahn Books (London & New York), 2013

 

 

By Fiona P. McDonald (University College London)

 

According to Georgina Born in Distributed Objects: Meaning and Mattering after Alfred Gell, “we all have our own Alfred Gell” (p. 130). Therefore, I too must admit to having my own Alfred Gell—one more clearly understood to me after exploring an entire volume dedicated to what can best be summarized as profound scholarly reflections on the distributed effects of Alfred Gell’s endeavor to identify an anthropological theory of art in his Art and Agency: An Anthropological Theory (1998). Distributed Objects is a captivating pendant piece to Gell’s original publication.…

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Modeling Nostalgia

Randy Hage, 1/12th scale sculpture of Ideal Hosiery, located at 339 Grand St. New York, NY; 17" x 15" x 8"

Randy Hage, 1/12th scale sculpture of Ideal Hosiery, located at 339 Grand St. New York, NY; 17″ x 15″ x 8″

By Aaron Glass (Bard Graduate Center)

Armed with his camera, Randy Hage explores urban landscapes threatened with eradication through development, gentrification, or other civic improvement schemes. Yet unlike the many other salvage-oriented artists who photographically document such streetscapes lest they vanish, Hage translates his photos into meticulously crafted scale models. Rather than just imaging these places, he materializes them; in some cases, he re-materializes buildings that may have been destroyed since he photographed them. Through the laborious process of simulating structures along with their contents and immediate environs, Hage must develop a particular tactile as well as visual intimacy with the sites and buildings in question.…

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The Mechanical Postcard

Adam Drazin, UCL Anthropology

  • • Is it possible to communicate material properties and senses across long distances?
  • • How do exchange and sharing play a part in the understanding of material properties?
  • • How can artistic work help us understand material culture?

In April, a collaborative Skype workshop, The First Encounter, was held between members of the School of Material and Visual Culture, Massey University in New Zealand, and UCL Anthropology  in London.  During the workshop, we presented a year’s worth of work on material properties conducted by working with various heritage artifacts made of different materials.  The intention was to discover if, and how, we could think about the evasive cultural topic of what properties are, and whether we could use the stimulus of having to communicate across the breadth of the globe to find new ways of thinking about and representing them.…

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Figuring Exchange: Art and Money

IMTFI fe_poster_web

How is money more than mere container and conveyor of value?
What happens to money we destroy, alter, or simply stop using?
How do the materials and the making of money matter?

Artists and craftspeople are highly attuned to these questions of money, aesthetics, and exchange. Political cartoonists offer direct commentary on the dramas of money; conceptual artists play with money’s materials and meanings through theory and technique; non-Western valuables make apparent the close connection between the making of objects and the making of value. This exhibition includes installations made of out of circulation Mexican bills by Argentine artist Máximo González; the art of trompe l’oeil painter G.B. Tate and others; as well as a variety of money and non-Western valuables.…

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CFP: Collecting Geographies – Global Programming and Museums of Modern Art

Organized by Stedelijk Museum, Amsterdam; ASCA/ACGS University of
Amsterdam, Amsterdam; Moderna Museet, Stockholm; Folkwang Museum,
Essen;Tropen Museum, Amsterdam

Location: Stedelijk Museum, Amsterdam
Dates: 13-15 March 2014
Deadline for papers: September 30, 2013
Admittance fee: €100,-

Key-note speakers / panel participants
James Clifford, Sarat Maharaj, Annie Coombes
Kader Attia, Wendelien van Oldenborgh, Daniel Birnbaum and Tobia
Bezzola.

For the latest information on key-note speakers and panel participants
please keep an eye on our website: www.stedelijk.nl/en

Introduction
Against the backdrop of globalization today, museums for modern and
contemporary art in the West are inclined to pay serious attention to
the acquisition and presentation of art from all over the world, beyond
the still prevalent dominance of European and North American art. Given,
on the one hand, the extreme concentration of internationally operating
art institutions in Western  Europe and the United States, and the often
radically different self-understanding of non-Western art institutions
on the other, the institutional claims to the global need to be
reviewed, contextualized and contested.…

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