Pub Date : 2023-11-14DOI: 10.1080/21500894.2023.2279772
Han Chen
{"title":"Worlding China: Huo Mingzhi’s transnational dealership and global narrative of Chinese art in the early twentieth century","authors":"Han Chen","doi":"10.1080/21500894.2023.2279772","DOIUrl":"https://doi.org/10.1080/21500894.2023.2279772","url":null,"abstract":"","PeriodicalId":412489,"journal":{"name":"World Art","volume":"50 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139277507","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-06DOI: 10.1080/21500894.2023.2252383
Keyu Yan
{"title":"Contested traditions: contemporary Chinese fiber art and Gu Wenda’s Wisdom Comes from Tranquility (1986)","authors":"Keyu Yan","doi":"10.1080/21500894.2023.2252383","DOIUrl":"https://doi.org/10.1080/21500894.2023.2252383","url":null,"abstract":"","PeriodicalId":412489,"journal":{"name":"World Art","volume":"221 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122123112","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-06DOI: 10.1080/21500894.2023.2252400
Inge Kral, Darren Jorgensen
{"title":"The illustrated literature of Solomon Cocky: turning the Dreaming into books","authors":"Inge Kral, Darren Jorgensen","doi":"10.1080/21500894.2023.2252400","DOIUrl":"https://doi.org/10.1080/21500894.2023.2252400","url":null,"abstract":"","PeriodicalId":412489,"journal":{"name":"World Art","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115266025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-11DOI: 10.1080/21500894.2023.2225166
Przemysław Strożek
This essay explores the presence of Eastern Bloc artists at the Olympiad of Art in Seoul (1988) at a time when there were no diplomatic relations between South Korea and the socialist/communist states in Europe. In the wider geopolitical context, the promotion of Eastern European arts was in line with Nordpolitik (Northern Policy): the South Korean government brought Eastern Europe to its side and isolated North Korea from its allies. The essay discusses the political uses of the 1988 Olympic Games and the Olympiad of Art as a groundbreaking event that contributed to the establishment of bilateral cultural relations between South Korea and the countries of the Eastern Bloc. Both the Olympic Games and the Olympiad of Art (1988) also contributed to a refreshing image of Eastern Europe in South Korea. Moreover, they foreshadowed a commencement of the new line of artistic exchanges when diplomatic relations between both regions in 1989–1991 were established.
{"title":"Envisioning the Eastern Bloc: Nordpolitik, sport and the visual arts at the 1988 Seoul Olympic Games","authors":"Przemysław Strożek","doi":"10.1080/21500894.2023.2225166","DOIUrl":"https://doi.org/10.1080/21500894.2023.2225166","url":null,"abstract":"This essay explores the presence of Eastern Bloc artists at the Olympiad of Art in Seoul (1988) at a time when there were no diplomatic relations between South Korea and the socialist/communist states in Europe. In the wider geopolitical context, the promotion of Eastern European arts was in line with Nordpolitik (Northern Policy): the South Korean government brought Eastern Europe to its side and isolated North Korea from its allies. The essay discusses the political uses of the 1988 Olympic Games and the Olympiad of Art as a groundbreaking event that contributed to the establishment of bilateral cultural relations between South Korea and the countries of the Eastern Bloc. Both the Olympic Games and the Olympiad of Art (1988) also contributed to a refreshing image of Eastern Europe in South Korea. Moreover, they foreshadowed a commencement of the new line of artistic exchanges when diplomatic relations between both regions in 1989–1991 were established.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"38 4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131472842","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-04DOI: 10.1080/21500894.2023.2190612
Renato Rodrigues da Silva, T. Bogéa
In the middle of one of the most devastating pandemics ever experienced, leaders of nearly 200 countries met recently in Glasgow to discuss climate change at the 2021 United Nations Climate Change Conference, nicknamed COP26. Long due and with great anticipation and press coverage, it was the third installment of a series of meetings that resulted from the 2015 Paris Agreement and the 1997 Kyoto Protocol. But why now? – plainly, because the planet and all its peoples cannot wait. The world is experiencing intense tornadoes in North America, severe floods and landslides in Europe, and scalding Canadian and Australian heat waves; the Brazilian Amazon and many other places are burning, while the oceans and weather patterns are convulsing. The urgency also resides in the rise in average global temperatures and the pressing need to maintain it reasonably by reducing global carbon dioxide emissions and drastically limiting other greenhouse gases in the near future. We are in the midst of a worsening environmental crisis and people on various fronts are asking what can be done. In particular, how is art responding to the environmental crisis? Members of art communities everywhere are also joining in to face this crucial problem, in a vast movement that is reshaping the face of art itself. This special issue of World Art emerges out of this movement, and is concerned about what artists and critics have to say and do in the matter. Many initiatives and actions in the domains of art and visual culture have been to denounce the destruction of the environment; they also highlight and suggest solutions to what, without our intervention, will be a world catastrophe without precedent. If progressive forces are
{"title":"Art and environmental crisis: an introductory note","authors":"Renato Rodrigues da Silva, T. Bogéa","doi":"10.1080/21500894.2023.2190612","DOIUrl":"https://doi.org/10.1080/21500894.2023.2190612","url":null,"abstract":"In the middle of one of the most devastating pandemics ever experienced, leaders of nearly 200 countries met recently in Glasgow to discuss climate change at the 2021 United Nations Climate Change Conference, nicknamed COP26. Long due and with great anticipation and press coverage, it was the third installment of a series of meetings that resulted from the 2015 Paris Agreement and the 1997 Kyoto Protocol. But why now? – plainly, because the planet and all its peoples cannot wait. The world is experiencing intense tornadoes in North America, severe floods and landslides in Europe, and scalding Canadian and Australian heat waves; the Brazilian Amazon and many other places are burning, while the oceans and weather patterns are convulsing. The urgency also resides in the rise in average global temperatures and the pressing need to maintain it reasonably by reducing global carbon dioxide emissions and drastically limiting other greenhouse gases in the near future. We are in the midst of a worsening environmental crisis and people on various fronts are asking what can be done. In particular, how is art responding to the environmental crisis? Members of art communities everywhere are also joining in to face this crucial problem, in a vast movement that is reshaping the face of art itself. This special issue of World Art emerges out of this movement, and is concerned about what artists and critics have to say and do in the matter. Many initiatives and actions in the domains of art and visual culture have been to denounce the destruction of the environment; they also highlight and suggest solutions to what, without our intervention, will be a world catastrophe without precedent. If progressive forces are","PeriodicalId":412489,"journal":{"name":"World Art","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129113019","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-04DOI: 10.1080/21500894.2023.2193787
George Lau
I am very pleased tomake several announcements on behalf of the journal, the editorial team and the advisory board. First, we are delighted to announce that the journal will now be indexed by Scopus, one of the top indexing and abstracting providers for academic research. Scopus gives us considerably greater coverage for various kinds of online/digitised searches. It extends the reach of the contributions published in the journal, allows us to connect to wider readerships, and will increase the visibility of our authors and their work. It is one more boon and incentive for scholars to chooseWorld Art for publishing their research and ensuring quality recognition. Second, we have a few updates regarding our content and submission guidelines. We are now on a regular programme of publishing three issues per year, which has been the case since 2019. This uptick built on the successes of the previous years, and total submissions have increased accordingly. It’s worth mentioning that at least one of the three issues each year will be published as a special themed issue. Proposals for special issues are always welcome, and any queries or expressions of interest can be directed to: worldart@uea.ac.uk. Any current calls for papers can always be found on the journal’s website: https://www.tandfonline.com. Of course, new manuscripts not intended for themed issues can be submitted at any time, and consideration of them proceeds on a rolling basis. This includes various kinds of contribution types (e.g., research articles, visual essays, art interventions, position pieces and interviews). Lastly, that brings us to the present issue, dedicated to ‘Art andEnvironmental Crisis,’ guest-edited by Renato Rodrigues da Silva and Tami Bogéa. This issue is inspired by recent developments and activities concerning art and the environment across the world. Recent impacts wrought by climate change, tied to global warming and other anthropogenic forces, are eroding theworld’s sustainability. At the same time, they reveal regional vulnerabilities, great inequalities inwealth and power, and legal andmoral transgressions. Many signs and sources of evidence point to a planet and its various ecosystems in flux and some teetering on the edge.
{"title":"Editorial note","authors":"George Lau","doi":"10.1080/21500894.2023.2193787","DOIUrl":"https://doi.org/10.1080/21500894.2023.2193787","url":null,"abstract":"I am very pleased tomake several announcements on behalf of the journal, the editorial team and the advisory board. First, we are delighted to announce that the journal will now be indexed by Scopus, one of the top indexing and abstracting providers for academic research. Scopus gives us considerably greater coverage for various kinds of online/digitised searches. It extends the reach of the contributions published in the journal, allows us to connect to wider readerships, and will increase the visibility of our authors and their work. It is one more boon and incentive for scholars to chooseWorld Art for publishing their research and ensuring quality recognition. Second, we have a few updates regarding our content and submission guidelines. We are now on a regular programme of publishing three issues per year, which has been the case since 2019. This uptick built on the successes of the previous years, and total submissions have increased accordingly. It’s worth mentioning that at least one of the three issues each year will be published as a special themed issue. Proposals for special issues are always welcome, and any queries or expressions of interest can be directed to: worldart@uea.ac.uk. Any current calls for papers can always be found on the journal’s website: https://www.tandfonline.com. Of course, new manuscripts not intended for themed issues can be submitted at any time, and consideration of them proceeds on a rolling basis. This includes various kinds of contribution types (e.g., research articles, visual essays, art interventions, position pieces and interviews). Lastly, that brings us to the present issue, dedicated to ‘Art andEnvironmental Crisis,’ guest-edited by Renato Rodrigues da Silva and Tami Bogéa. This issue is inspired by recent developments and activities concerning art and the environment across the world. Recent impacts wrought by climate change, tied to global warming and other anthropogenic forces, are eroding theworld’s sustainability. At the same time, they reveal regional vulnerabilities, great inequalities inwealth and power, and legal andmoral transgressions. Many signs and sources of evidence point to a planet and its various ecosystems in flux and some teetering on the edge.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117157337","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-06DOI: 10.1080/21500894.2023.2196250
Declan Lloyd
This contribution aims to identify a clear link between whether a culture is oral or literate and their distinct styles of visual art. It looks with particular interest to the interconnectivity between the theories of two thinkers from disparate fields: the American philosopher and theorist of linguistics Walter J. Ong and the German art historian Wilhelm Worringer. It considers what we can learn from the intersectionality of their principal theories: the conception of orality and literacy as delineated by Ong and the conception of abstraction and empathy as elucidated by Worringer. It will be shown how the characteristics of oral peoples as explicated by Ong (that is, people entirely detached from literacy, with no written language, sometimes derogatorily called ‘primitive’, or sometimes tribal peoples) are driven by the same ‘urge to abstraction’ which is identified by Worringer in Abstraction and Empathy. In turn, the reason for certain characteristics of oral art is specifically related to their being detached from literacy; as Ong famously proposed, ‘writing restructures consciousness.’ It will be shown how this is verified by the fact that the movement away from universal styles of oral, abstractive art (such as a constraint to two-dimensionality, use of repeated patterns and symbolic counterparts of figures and objects) towards immersive, empathic art (the mimetic, representational, realistic rendering of space and figures) is historically concurrent with a shift from universal orality to widespread literacy. The implication of this theoretical synchronicity is rather radical, allowing for new theoretical alignments between these fields. It also sheds light on the reason behind concurrent characteristics in the visual art produced by disparate societies across time and cultures: their art is reflective of their status as an ‘oral’ culture.
{"title":"The art of orality: how the absence of writing shapes the character of tribal, ‘primitive’ art","authors":"Declan Lloyd","doi":"10.1080/21500894.2023.2196250","DOIUrl":"https://doi.org/10.1080/21500894.2023.2196250","url":null,"abstract":"This contribution aims to identify a clear link between whether a culture is oral or literate and their distinct styles of visual art. It looks with particular interest to the interconnectivity between the theories of two thinkers from disparate fields: the American philosopher and theorist of linguistics Walter J. Ong and the German art historian Wilhelm Worringer. It considers what we can learn from the intersectionality of their principal theories: the conception of orality and literacy as delineated by Ong and the conception of abstraction and empathy as elucidated by Worringer. It will be shown how the characteristics of oral peoples as explicated by Ong (that is, people entirely detached from literacy, with no written language, sometimes derogatorily called ‘primitive’, or sometimes tribal peoples) are driven by the same ‘urge to abstraction’ which is identified by Worringer in Abstraction and Empathy. In turn, the reason for certain characteristics of oral art is specifically related to their being detached from literacy; as Ong famously proposed, ‘writing restructures consciousness.’ It will be shown how this is verified by the fact that the movement away from universal styles of oral, abstractive art (such as a constraint to two-dimensionality, use of repeated patterns and symbolic counterparts of figures and objects) towards immersive, empathic art (the mimetic, representational, realistic rendering of space and figures) is historically concurrent with a shift from universal orality to widespread literacy. The implication of this theoretical synchronicity is rather radical, allowing for new theoretical alignments between these fields. It also sheds light on the reason behind concurrent characteristics in the visual art produced by disparate societies across time and cultures: their art is reflective of their status as an ‘oral’ culture.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131141943","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-05DOI: 10.1080/21500894.2023.2196275
Yiran Chen
This paper adopts a new materialist lens to analyze how He Xiangyu's Cola Project (2008–2012) enacts its discursive materialities. It focuses on one of the installation pieces A Barrel of Dregs of Coca-Cola (2009), which features an earthy, bitumen-like black crystalline residue, created by the artist and a number of workers by boiling down thousands of liters of Coca-Cola for a year. Existing studies primarily examine the work through symbolic and metaphorical readings that interpret the work as a critique of Western culture and consumerism's influence on China, and regard the artist as the sole protagonist of the production and meaning-making of the piece. This study focuses on the underexplored power of collective labor engagements with materials; on the materialities of the artwork; and on the artwork's potential to evoke broader critical responses. Building upon new materialist, including of Karen Barad and Amelia Jones, this paper understands the materialities of He's work in terms of material-discursive phenomena that are formed through continuous entanglements between the artist, workers, and the Coca-Cola substance. By examining the labor-intensive process manifested in the artwork's traces or marks, this study highlights how discursive materialities enacted during production processes can generate new spaces for meaning.
本文采用新唯物主义的视角来分析何翔宇的可乐计划(2008-2012)话语的物质性是如何实现的。展览的重点是其中一件装置作品《一桶可口可乐的渣滓》(A Barrel of Dregs of Coca-Cola, 2009)，它的特点是一种土质的、沥青状的黑色结晶残留物，是艺术家和一些工人在一年的时间里煮沸数千升可口可乐后创造出来的。现有的研究主要是通过象征性和隐喻性的解读来审视作品，将作品解读为对西方文化和消费主义对中国影响的批判，并将艺术家视为作品创作和意义创造的唯一主角。本研究聚焦于未被充分发掘的集体劳动与材料互动的力量;论艺术作品的物质性;以及这件艺术品引发更广泛批判反应的潜力。本文以包括Karen Barad和Amelia Jones在内的新唯物主义为基础，从艺术家、工人和可口可乐物质之间的持续纠缠中形成的物质话语现象的角度来理解何氏作品的物质性。通过考察艺术作品的痕迹或标记所体现的劳动密集型过程，本研究强调了在生产过程中制定的话语材料如何产生新的意义空间。
{"title":"Coca-Cola in process of materialisation: a new materialist perspective on He Xiangyu’s Cola Project","authors":"Yiran Chen","doi":"10.1080/21500894.2023.2196275","DOIUrl":"https://doi.org/10.1080/21500894.2023.2196275","url":null,"abstract":"This paper adopts a new materialist lens to analyze how He Xiangyu's Cola Project (2008–2012) enacts its discursive materialities. It focuses on one of the installation pieces A Barrel of Dregs of Coca-Cola (2009), which features an earthy, bitumen-like black crystalline residue, created by the artist and a number of workers by boiling down thousands of liters of Coca-Cola for a year. Existing studies primarily examine the work through symbolic and metaphorical readings that interpret the work as a critique of Western culture and consumerism's influence on China, and regard the artist as the sole protagonist of the production and meaning-making of the piece. This study focuses on the underexplored power of collective labor engagements with materials; on the materialities of the artwork; and on the artwork's potential to evoke broader critical responses. Building upon new materialist, including of Karen Barad and Amelia Jones, this paper understands the materialities of He's work in terms of material-discursive phenomena that are formed through continuous entanglements between the artist, workers, and the Coca-Cola substance. By examining the labor-intensive process manifested in the artwork's traces or marks, this study highlights how discursive materialities enacted during production processes can generate new spaces for meaning.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130528674","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-02DOI: 10.1080/21500894.2023.2190999
Md. Sayeed Al-Zaman, Mridha Md. Shiblee Noman
Although art as a communication medium has a rich tradition in Bangladesh and the environment is a critical concern, no scholarly endeavor has connected these two research areas. This exploratory study, therefore, seeks to understand how artists and environmentalists perceive the role of art in environmental communication. Based on interview data, we explored two relevant themes regarding their perception: art’s uncertain contribution to environmentalism and environmental art’s role and transformation. The first theme discussed the art’s audience, its standard and use, its meaning, social and financial dilemmas in the way of art’s contribution to environmentalism, and disagreements between environmentalists and artists over a few issues. The second theme focuses on the communicative and persuasive roles and potentials of arts in positive environmental changes and how the internet has recently transformed environmental art, making it digital, wide-reaching, more democratic, and more innovative. Finally, this paper concludes with some practical implications of the findings and methodological limitations.
{"title":"Art and environmental communication in Bangladesh: perceptions of artists and environmentalists","authors":"Md. Sayeed Al-Zaman, Mridha Md. Shiblee Noman","doi":"10.1080/21500894.2023.2190999","DOIUrl":"https://doi.org/10.1080/21500894.2023.2190999","url":null,"abstract":"Although art as a communication medium has a rich tradition in Bangladesh and the environment is a critical concern, no scholarly endeavor has connected these two research areas. This exploratory study, therefore, seeks to understand how artists and environmentalists perceive the role of art in environmental communication. Based on interview data, we explored two relevant themes regarding their perception: art’s uncertain contribution to environmentalism and environmental art’s role and transformation. The first theme discussed the art’s audience, its standard and use, its meaning, social and financial dilemmas in the way of art’s contribution to environmentalism, and disagreements between environmentalists and artists over a few issues. The second theme focuses on the communicative and persuasive roles and potentials of arts in positive environmental changes and how the internet has recently transformed environmental art, making it digital, wide-reaching, more democratic, and more innovative. Finally, this paper concludes with some practical implications of the findings and methodological limitations.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128689644","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：