Search results

You are looking at 1 - 10 of 953 items for :

  • Art, Architecture and Visual Culture x
  • Refine by access: All content x
Clear All
Abstract only
Queer zen
Alpesh Kantilal Patel

Form: queer zen In the summer of 2012 I participated in the National Endowment for the Humanities (NEH) Summer Institute programme titled ‘Re-envisioning American Art History: Asian American Art, Research, and Teaching’.1 Margo Machida, one of the pioneers of exploring artworks by artists of Asian descent through a transnational lens, and Alexandra Chang, curator of special projects and the director of global arts programs at the Asian/Pacific/American Institute research centre at New York University (NYU), organized the intensive three-week programme and

in Productive failure
Abstract only
Jared Pappas-Kelley

3 Solvent form Trying to make the moment permeable, the art impulse yields forms that are likewise solvent. It is this intersection of permeability that the destroyed object prompts most overtly. Crossing an expansive moment when form is most solvent, to be here and yet not, solvent in terms of capable of undoing (dissolving) yet also in the sense of solvency, to make secure and firm. Therefore, in this an art object points to itself, as well as to what is imperceptible and distinct, ensnaring us both in the cascading of the moment and in prolonging this

in Solvent form
Abstract only
Reading Lawrence Weiner
Katie L. Price

Forms of potential: reading Lawrence Weiner Katie L. Price Although since 1968 American conceptual artist Lawrence Weiner’s primary medium has been language, he prefers to call his works sculptures. Weiner’s preferred term implies that his works are three-dimensional, existing as physical objects in space. However, Weiner’s ‘Statement of Intent’, first published in January 1969 and structuring his artistic output ever since, complicates this notion of three-dimensionality. The statement asserts that his works need not be made by him, need not be authentic and

in Mixed messages
The reimagination of Baroque sculpture during Fascism
Laura Moure Cecchini

, and movement, inspired by Baroque spatial experiments and Futurist dynamism. 1 Rather than drama and theatricality, as is the case in Santa Lucia , The Baroque Chair uses the Baroque to signify the unresolved tension between movement and stasis. Such was the reading of Italian and Argentine critics, who described the Baroqueness of Fontana's work as an ‘intensity, a vibration that distresses forms’. 2 In the twenty years that separated Wildt's and Fontana

in Baroquemania
Abstract only
Art and destruction

Solvent form examines the destruction of art—through objects that have been destroyed (lost in fires, floods, vandalism, or similarly those artists that actively court or represent this destruction, such as Gustav Metzger), but also as a process within art that the object courts through form. In this manner, Solvent form looks to events such as the Momart warehouse fire in 2004 as well as the actions of art thief Stéphane Breitwieser in which the stolen work was destroyed. Against this overlay, a tendency is mapped whereby individuals attempt to conceptually gather these destroyed or lost objects, to somehow recoup in their absence. From this vantage, Solvent form—hinging on the dual meaning in the words solvent and solvency—proposes an idea of art as an attempt to secure and fix, which correspondingly undoes and destroys through its inception. It also weaves a narrative of art that intermingles with Jean Baudrillard’s ideas on disappearance, Georges Bataille and Paul Virilio’s negative or reverse miracle, Jean-Luc Nancy’s concept of the image (or imago as votive that keeps present the past, yet also burns), and Giorgio Agamben’s notion of art as an attempt to make the moment appear permeable. Likewise, it is through these destructions that one might distinguish a solvency within art and catch an operation in which something is made visible through these moments of destruction when art’s metaphorical undoing emerges as oddly literal.

The Shahyad Arya-Mehr Tower
Ali Mozaffari
Nigel Westbrook

5 Forming a national image through public projects: The Shahyad Arya-Mehr Tower The monument of Shahyad Ariamehr is being built near Teheran to celebrate the 25th centenary of the foundation of the Iranian Empire, and of the Declaration of Human Rights by Cyrus the Great. As is fitting for such an occasion, it is a monument to the past – its inspiration clearly coming from traditional design. But it has another purpose concerned very much with today.1 I think one of the reasons that Persians feel so close to Shahyad Tower is that it is reminiscent of Ctesiphon

Reading Futurism with Pierre Albert-Birot as witness, creative collaborator and dissenter
Debra Kelly

6 ‘An infinity of living forms, representative of the absolute’? Reading Futurism with Pierre Albert-Birot as witness, creative collaborator and dissenter Debra Kelly Debra Kelly ‘An infinity of living forms’ Artist, poet, witness Wanting to introduce new ideas is good, being unable not to introduce new ideas is much better. The ism is a bit like a magnifying glass. It magnifies the precise point under examination, but you can no longer see anything around it, and this point is so magnified that it attracts: you throw yourself into it, it swallows you up, and

in Back to the Futurists
Lea Bou Khater

dislodge the inept and corrupt political elite. The former Prime Minister Sa‘ad Hariri, who resigned the previous year, was once again nominated to form a new cabinet. And more than two months later, the domestic investigation into the devastating explosion at Beirut’s port has failed to yield any credible results. The book redirects attention to the role of labour co-optation in diluting and weakening contentious politics and stifling change during social unrest following Lebanon’s waste crisis in 2015 and the October

in The labour movement in Lebanon
Realizing an everyday Islamic identity
Ali Mozaffari
Nigel Westbrook

4 Forming a future from the past: Realizing an everyday Islamic identity Introduction In the Pahlavi period, rapid development brought problems of supply, typology, and quality of forms of habitation to larger Iranian cities. It had encouraged population displacement, uncontrolled peri-urban districts of shanty towns, and increased congestion in established districts and cultural conflicts between existing and recently arrived populations – problems that were similar to housing crises in French North African colonies, where the idea of culturally appropriate

Abstract only
Bulletin of the John Rylands Library