Where do we draw the line of divinely inspired visionary art, and Christian kitsch？ Folk artists such as the Rev. Howard Finster and Sister Gertrude Morgan straddled the fence of kitsch and visionary art because they...Where do we draw the line of divinely inspired visionary art, and Christian kitsch？ Folk artists such as the Rev. Howard Finster and Sister Gertrude Morgan straddled the fence of kitsch and visionary art because they created work that was blatantly polemical and didactic, yet lived lives that inspired thousands of people across the US. The so-called ＂Southern Folk Art＂ movement consists of self-taught artists from the American South who are self-trained and rely heavily on ＂visions＂ and ＂prophetic words＂ as the genesis of their art. This article contends that the art produced by folk artists is documentation of their visionary insights as opposed to detached works that are admired for aesthetic reasons. While folk art of the American South portrays the charismatic imagination with themes of eschatological community and the second coming, it is the ＂visionary artist＂ that is contemplated, rather than his or her bona fide message of redemption and re-creation.展开更多
Born of the America of 1960s, performance art comes along as a celebration of presentation rather than re-presentation, as a display form of art, and an art form that does not admit of duplication. This paper presents...Born of the America of 1960s, performance art comes along as a celebration of presentation rather than re-presentation, as a display form of art, and an art form that does not admit of duplication. This paper presents a reading of the seductive power of performance art as rooted in our theatrical nature. I will address performance art as an emancipated form of the theatrical, where by ＂theatrical＂ I mean a specific mode of presentation and a specific mode of perception： the mode of presentation of the self to the social and the mode of perception of the self through the social. Performance art, I will argue, is hardly an anomaly of our time. Rather, its source of disturbance and fascination lies in the natural, though excessive manifestation of our theatrical nature. By its appeal to the shocking, the perilous, or the mundane even, this form of art confirms what Paul Woodruff has addressed as ＂the necessity of watching and being watched.＂ Performance art shows us the danger of self-presentation, the recognition of the other gaze as the self＇s greatest need and greatest fear. It needs no words. Mere action is more seductive than speech and does not accept speech in return. Once it has been performed, it is no longer. In Nietzsche＇s words, it celebrates the fleeting moment＇s ＂greatest weight.＂ As Samuel Beckett used to tell his actors, performance artists seem to tell their spectators： ＂Go on failing. Go on. Only next time, try to fail better.＂展开更多
There seems to be a renewed interest in the last couple decades in studying and writing about consciousness. Consciousness may be the most difficult question humans are trying to resolve. Yet eliciting transcendence, ...There seems to be a renewed interest in the last couple decades in studying and writing about consciousness. Consciousness may be the most difficult question humans are trying to resolve. Yet eliciting transcendence, a phenomenon that rises above, or goes beyond, normal limits of consciousness, has been an identified goal for many artists in the past, possibly even in cave art. Drawing on works shown in the 2006 Art Gallery of Hamilton exposition called Sublime Embrace： Experiencing Consciousness in Contemporary Art and in the 2002 Houston Contemporary Art Museum 2002 show called THE INWARD EYE： Transcendence in Contemporary Art, the author will explore the biological, psychological, cultural, and spiritual facets of transcendence. Perhaps, with the renewed symbiotic relationship between the sciences and art, the convergence of digital media, and the emergence of global communication networks, we are at the verge of art that will create a change, an alteration in our consciousness, and an altercendent state. What this change will be is yet a mystery.展开更多
Although reviewers of Tremblay＇s play For the Pleasure of Seeing Her Again （1998） focus on the monologues of the angry mother who rants about everyday concerns for the well-being of her child, a character much like...Although reviewers of Tremblay＇s play For the Pleasure of Seeing Her Again （1998） focus on the monologues of the angry mother who rants about everyday concerns for the well-being of her child, a character much like the one who initiated Tremblay＇s career （the old song）, the author will focus on how the narrator＇s memory of his mother stage by stage in his life enacted before our eyes, permits Tremblay to self-consciously explain that his artistry reaches far beyond bringing the people he knew best in his youth, who had no knowledge of theater history, acting, and directing and staging, to the stage. His growth as an artist and his ＂new songs＂ are a result of his own continuous development of that knowledge展开更多
This paper is based on the Indian Buddhism arts, especially Hinayana, and it gives a comparison between the mural paintings in Wat Khongkharam and the Buddha images in Dali Kingdom of China. This paper also aims at an...This paper is based on the Indian Buddhism arts, especially Hinayana, and it gives a comparison between the mural paintings in Wat Khongkharam and the Buddha images in Dali Kingdom of China. This paper also aims at analysing the origin, the development, and the major premises of artists in Buddhism Arts. Furthermore, I would like to collect related materials and give a recreation as well.展开更多
Peking Opera is one of ancient opera arts in China, known as the ＂national essence＂ , which has a very high artistic achievement. Because of its unique and systematic aria, phonology, performance and modeling, Pekin...Peking Opera is one of ancient opera arts in China, known as the ＂national essence＂ , which has a very high artistic achievement. Because of its unique and systematic aria, phonology, performance and modeling, Peking Opera is favored by people, which is an art that vocal music artists mutually research and learn. The Peking Opera aria has already formed a set of professional theories, which has practical significance to guide the national vocal music. It not only can inherit the Peking Opera but also can carry forward the national vocal music. This paper illustrates the reference and application of Peking Opera aria in national vocal music singing according to examples, which provides the reference advice for the development of national vocal music.展开更多
As a study in art history critical theory, this paper looks at the appreciation and usage of art amongst interest groups at the time of the Great War and the subsequent legacy of the work of Canada＇s resident war art...As a study in art history critical theory, this paper looks at the appreciation and usage of art amongst interest groups at the time of the Great War and the subsequent legacy of the work of Canada＇s resident war artist Richard Jack. The Canadian War Museum＇s recent web page described Jack＇s standing officer in The Second Battle of Ypres 22 April to 25 May 1915 as one who ＂exemplifies the courage and resolve of the inexperienced Canadians in their first major battle＂. This comment showed a marked contrast to the contemporary art critic Richard Cork who described the first of the Canadian war memorials paintings as ＂a clich6-ridden bandaged officer ... shamelessly catering to public sentiment＂. Given these disparate positions, the author attempts to explain the gulf between these points of view and subsequently make the case that art has a broad application that might make us cautious of viewing a given work without due consideration of the context of its making and future merits.展开更多
Visual artists in the island provinces of the Philippines often find themselves navigating through adversities in the production and dissemination of their creative work. With the visual-arts praxis being exclusively ...Visual artists in the island provinces of the Philippines often find themselves navigating through adversities in the production and dissemination of their creative work. With the visual-arts praxis being exclusively cited in the nation’s capital city, the majority of artists spread over an archipelago of seven thousand islands fall under the notion of struggling, but persevering creator. This paper aims to describe and evaluate the art ecology of Cebu City, the art-related conditions of artists and their tenacity. The methodology used for case-creation： semi-structured interviews, in-depth interviews, and observation. The main finding of the study is that contemporary visual artists in the island province of Cebu, Philippines perceive the struggles from the production to the consumption of art as customary to their milieus. The study plots the current visual-arts ecology model of the locale and proposes future innovations for the development of the sector’s value chain. From the context of a developing country, the study also expands the discussion between creating art for art’s sake and art as a market commodity through the intermediate position of artists.展开更多
Literally and figuratively, video art is not viewed in the same way as traditional forms of art. It is often relegated off to its own room or comer of a gallery, and when we see video, we think of film and conjure the...Literally and figuratively, video art is not viewed in the same way as traditional forms of art. It is often relegated off to its own room or comer of a gallery, and when we see video, we think of film and conjure the idea of passively viewing a story with a set beginning, middle, and end. This is reinforced by the fact that most video art has a playing time listed or is viewed in a darkened room in the same way as one would view a movie. Alternately, once a painting is hung, the artist is no longer in control of the way it is viewing the story. The viewer now determines the time and narrative. This paper looks at a new way of expressing video art by analyzing the installation ＂The Four Horsemen of the Apocalypse＂. The animations that are part of the installation are edited as the viewer is experiencing it in an attempt to approximate how we view a painting. Finally, the impact of the installation is compared to a short film created from the same footage; this time, it is viewed in a dark room with the artist in control of how the story unfolds.展开更多
文摘Where do we draw the line of divinely inspired visionary art, and Christian kitsch？ Folk artists such as the Rev. Howard Finster and Sister Gertrude Morgan straddled the fence of kitsch and visionary art because they created work that was blatantly polemical and didactic, yet lived lives that inspired thousands of people across the US. The so-called ＂Southern Folk Art＂ movement consists of self-taught artists from the American South who are self-trained and rely heavily on ＂visions＂ and ＂prophetic words＂ as the genesis of their art. This article contends that the art produced by folk artists is documentation of their visionary insights as opposed to detached works that are admired for aesthetic reasons. While folk art of the American South portrays the charismatic imagination with themes of eschatological community and the second coming, it is the ＂visionary artist＂ that is contemplated, rather than his or her bona fide message of redemption and re-creation.
文摘Born of the America of 1960s, performance art comes along as a celebration of presentation rather than re-presentation, as a display form of art, and an art form that does not admit of duplication. This paper presents a reading of the seductive power of performance art as rooted in our theatrical nature. I will address performance art as an emancipated form of the theatrical, where by ＂theatrical＂ I mean a specific mode of presentation and a specific mode of perception： the mode of presentation of the self to the social and the mode of perception of the self through the social. Performance art, I will argue, is hardly an anomaly of our time. Rather, its source of disturbance and fascination lies in the natural, though excessive manifestation of our theatrical nature. By its appeal to the shocking, the perilous, or the mundane even, this form of art confirms what Paul Woodruff has addressed as ＂the necessity of watching and being watched.＂ Performance art shows us the danger of self-presentation, the recognition of the other gaze as the self＇s greatest need and greatest fear. It needs no words. Mere action is more seductive than speech and does not accept speech in return. Once it has been performed, it is no longer. In Nietzsche＇s words, it celebrates the fleeting moment＇s ＂greatest weight.＂ As Samuel Beckett used to tell his actors, performance artists seem to tell their spectators： ＂Go on failing. Go on. Only next time, try to fail better.＂
文摘There seems to be a renewed interest in the last couple decades in studying and writing about consciousness. Consciousness may be the most difficult question humans are trying to resolve. Yet eliciting transcendence, a phenomenon that rises above, or goes beyond, normal limits of consciousness, has been an identified goal for many artists in the past, possibly even in cave art. Drawing on works shown in the 2006 Art Gallery of Hamilton exposition called Sublime Embrace： Experiencing Consciousness in Contemporary Art and in the 2002 Houston Contemporary Art Museum 2002 show called THE INWARD EYE： Transcendence in Contemporary Art, the author will explore the biological, psychological, cultural, and spiritual facets of transcendence. Perhaps, with the renewed symbiotic relationship between the sciences and art, the convergence of digital media, and the emergence of global communication networks, we are at the verge of art that will create a change, an alteration in our consciousness, and an altercendent state. What this change will be is yet a mystery.
文摘Although reviewers of Tremblay＇s play For the Pleasure of Seeing Her Again （1998） focus on the monologues of the angry mother who rants about everyday concerns for the well-being of her child, a character much like the one who initiated Tremblay＇s career （the old song）, the author will focus on how the narrator＇s memory of his mother stage by stage in his life enacted before our eyes, permits Tremblay to self-consciously explain that his artistry reaches far beyond bringing the people he knew best in his youth, who had no knowledge of theater history, acting, and directing and staging, to the stage. His growth as an artist and his ＂new songs＂ are a result of his own continuous development of that knowledge
文摘This paper is based on the Indian Buddhism arts, especially Hinayana, and it gives a comparison between the mural paintings in Wat Khongkharam and the Buddha images in Dali Kingdom of China. This paper also aims at analysing the origin, the development, and the major premises of artists in Buddhism Arts. Furthermore, I would like to collect related materials and give a recreation as well.
文摘Peking Opera is one of ancient opera arts in China, known as the ＂national essence＂ , which has a very high artistic achievement. Because of its unique and systematic aria, phonology, performance and modeling, Peking Opera is favored by people, which is an art that vocal music artists mutually research and learn. The Peking Opera aria has already formed a set of professional theories, which has practical significance to guide the national vocal music. It not only can inherit the Peking Opera but also can carry forward the national vocal music. This paper illustrates the reference and application of Peking Opera aria in national vocal music singing according to examples, which provides the reference advice for the development of national vocal music.
文摘As a study in art history critical theory, this paper looks at the appreciation and usage of art amongst interest groups at the time of the Great War and the subsequent legacy of the work of Canada＇s resident war artist Richard Jack. The Canadian War Museum＇s recent web page described Jack＇s standing officer in The Second Battle of Ypres 22 April to 25 May 1915 as one who ＂exemplifies the courage and resolve of the inexperienced Canadians in their first major battle＂. This comment showed a marked contrast to the contemporary art critic Richard Cork who described the first of the Canadian war memorials paintings as ＂a clich6-ridden bandaged officer ... shamelessly catering to public sentiment＂. Given these disparate positions, the author attempts to explain the gulf between these points of view and subsequently make the case that art has a broad application that might make us cautious of viewing a given work without due consideration of the context of its making and future merits.
文摘Visual artists in the island provinces of the Philippines often find themselves navigating through adversities in the production and dissemination of their creative work. With the visual-arts praxis being exclusively cited in the nation’s capital city, the majority of artists spread over an archipelago of seven thousand islands fall under the notion of struggling, but persevering creator. This paper aims to describe and evaluate the art ecology of Cebu City, the art-related conditions of artists and their tenacity. The methodology used for case-creation： semi-structured interviews, in-depth interviews, and observation. The main finding of the study is that contemporary visual artists in the island province of Cebu, Philippines perceive the struggles from the production to the consumption of art as customary to their milieus. The study plots the current visual-arts ecology model of the locale and proposes future innovations for the development of the sector’s value chain. From the context of a developing country, the study also expands the discussion between creating art for art’s sake and art as a market commodity through the intermediate position of artists.
文摘Literally and figuratively, video art is not viewed in the same way as traditional forms of art. It is often relegated off to its own room or comer of a gallery, and when we see video, we think of film and conjure the idea of passively viewing a story with a set beginning, middle, and end. This is reinforced by the fact that most video art has a playing time listed or is viewed in a darkened room in the same way as one would view a movie. Alternately, once a painting is hung, the artist is no longer in control of the way it is viewing the story. The viewer now determines the time and narrative. This paper looks at a new way of expressing video art by analyzing the installation ＂The Four Horsemen of the Apocalypse＂. The animations that are part of the installation are edited as the viewer is experiencing it in an attempt to approximate how we view a painting. Finally, the impact of the installation is compared to a short film created from the same footage; this time, it is viewed in a dark room with the artist in control of how the story unfolds.
