Search

Windows Into Art was a month-long exhibit, held in June 2010, that placed paintings, works on paper, textile art, sculpture, video, and installations in the windows of vacant buildings in downtown Vancouver, WA. Co-curated by Karen Madsen and Dene Grigar, it was envisioned as an "alternative means of viewing art" that "turned the street into a museum and connected people with art." The show was also seen as a way to utilize art as a means for uplifting the spirit of a community where the number of vacant windows and storefronts was a growing concern to the city's public image. While such an approach to site-specific, civic art is not new, the show did break new ground with its use of technology: It utilized QR Codes to provide viewers with more information about the paintings, sculpture, installations, and the buildings in which the art was featured and to create an intermedial experience that connected analog art to the digital realm. Much has been written about technologies that make interacting with real world objects possible and tagging objects in ways that they can be found digitally. What interests this paper, instead, is the idea of intermediality--that is, the concept that digital and analog can come together so seamlessly that they create a new experience that is both real and virtual, augmented and extended. These are experiences that place viewers in two worlds simultaneously, offering all of the affordances available from both, thus making it possible to appreciate art in new ways. [ABSTRACT FROM AUTHOR]

The application of Virtual Reality (VR) in theater space and installation art is the general trend, and it can be seen in large stage plays and installation art exhibitions. However, as the current VR is not mature enough, it is difficult to perfectly fulfill the exhibition requirements of large theaters, so this paper aims to change this situation by using VR based on multisensor data fusion. In this paper, a data fusion algorithm based on multisensors is designed, which improves the data transmission efficiency and delay of the VR system, so that VR can have a better viewing experience in theater space and installation art. And, through the questionnaire survey and actual interview, the actual feelings of VR audience in theater space and installation art are investigated and studied. Through the experimental analysis of this paper, the algorithm in this paper has high reliability and can improve the experience of using VR. The interview results and results show that the main application of VR in theater space is manifested in three aspects: multiangle and all-round viewing, multiroute viewing, and man-machine interaction in art galleries. The application of VR in installation art is mainly reflected in the perception of installation materials. [ABSTRACT FROM AUTHOR]

This paper presents a new method for generating artworks that extends the classical anamorphic archetype to use freeform reflective and refractive media and 3D surfaces instead of images. The methodology uses a mix of raytracing and surface deformation techniques to determine the proper deformation the object should undergo to be corrected by the optical tool once viewed by the observer in a specific location. Our approach also includes an optimization process that modifies the point of view and the location of the target image to avoid unwanted optical effects or occlusions. We successfully tested our technique on several practical examples and employed it to produce actual artworks. • A new method to construct anamorphic sculptures using general optical media. • Characterized the main problems arising in general anamorphosis. • A simple system to allow the artist to create anamorphic art installations. • We created real-world art installations in international exhibitions. [ABSTRACT FROM AUTHOR]

Through a sustained engagement with The Precarious Life of the Parol, an installation art exhibition by the Filipinx artist Diane Williams, this essay theorizes "brown gathering": a quotidian practice of archiving that mobilizes the kinship networks of minoritarian subjects as an affective and circulatory infrastructure of collecting, preserving, and (re)signifying the objects of brown life. Brown gathering simultaneously attests to the intimacies of state violence and the practices of minoritarian subjects. In Parol, named after a Filipinx Christmas ornament of Spanish and native origin, Williams turns toward this curatorial practice of making art with trash objects as a way to reckon with the archival absences of Philippine history. This investigation of Williams's pieces, all made from trash objects that her family donated to her, concerns three categories: skeletal frames (wood and wire), used to explore archives of excess and mess; plastics, used to speak about the temporality of diaspora; and discarded food containers (SPAM cans and sauce mixes), used to theorize the politics of the brown body. These objects, like the brown subjects that signify them, are testaments to the ongoing plunder of empire and to what empire jettisons around the world. [ABSTRACT FROM AUTHOR]

This paper discusses exhibition installation as an aesthetic medium. Drawing on Germano Celant's writing on installation, we advance an interpretation of artists' engagement with installation resulting in room-size works in the first half of the 20th century, as part of the evolution of exhibition installation towards the convergence of art and design. The paper also address the problem of intermediality as discussed by Juliane Rebentisch, and its implications for installation and attempts to tests Rosalind Krauss's reconception of the medium against Rebentisch's criticism, while analyzing Krauss's disapproval of installation art, including the room-size works of the avant-garde. [ABSTRACT FROM AUTHOR]

This paper investigates CASTING, Yiyun Kang's site-specific projection mapping installation at the Victoria and Albert Museum in London, U.K., and the acquisition of the piece by the V&A in the following year. It identifies how CASTING developed distinctive properties in the field of projected moving-image installation artworks and how these novel characteristics were reflected in the acquisition by the V&A. [ABSTRACT FROM AUTHOR]

Data materialization is a workflow developed to create 3D objects from data-informed designs. Building upon traditional metalwork and craft, and new technology's data visualization with generative art, this workflow expresses conceptually relevant data through 3D forms which are fabricated in traditional media. The process allows for the subtle application of data in visual art, allowing the aesthetic allure of the art object or installation to inspire intellectual intrigue. This paper describes the technical and creative process of Modern Dowry, a silver-plated 3D-print teapot on view at the Museum of the City of New York, June 2017-June 2018. [ABSTRACT FROM AUTHOR]

The paper looks at Installation art as practiced by two renowned artists, Vivan Sundaram and Anish Kapoor. Both try to project the realities and experiences of our everyday life through installations. The challenge lies in transforming the concept into a work of art and in establishing a relationship with the viewers/spectators. Installation art tries to look at spaces in a very different way, as this paper will discuss, and aims to interact and connect with the individual who is viewing it. To highlight our mental processes, everyday experiences and social concerns beyond painting and sculpture, and reach out to a wider public is the aim of an installation artist. [ABSTRACT FROM AUTHOR]

In 2002 internationally established installation artists, Artstation and Welsh filmmaker, Wyn Mason, collaborated on an artist placement within a Brussels asylum seeker reception centre, Le Petit Chateau. The resulting Paperwork exhibition at The Old Library, Cardiff, included a looped, twin-screen video projection. Collaborating with Artstation, whose art practice is heavily influenced by cybernetics, led Wyn to adopt a radically different filmmaking approach to that of traditional film and TV practices. The result is a hybridised film that is drama and documentary, cinema and art video, and a film that was designed to address the high level cultural-political arena of Cardiff's bid to become European Capital of Culture 2008. Now re-edited as a linear piece, Paperwork is being represented as a 10-minute short work for film festival audiences. The article tracks the production process, showing how cybernetic method impacted on conventional film and TV practices. [ABSTRACT FROM AUTHOR]

British artist Barbara Walker makes drawings of people. She makes drawings of people using charcoal and a soft pencil. She makes drawings of men and women; huge, larger than life, floor to ceiling drawings rendered directly onto the wall. Each fold, crease, line, and blemish of her sitters’ bodies and the clothes that enfold them are sensitively transcribed in the smallest of detail. But we never see her sitters’ faces. And each wall is wiped clean at the end of every show. It is impossible to view Walker’s work without first being astonished by the sheer scale and by the craftsmanship, by the quality of lines seemingly etched into the wall, or the paper, or the canvas, creating a three-dimensional, almost sculptural effect. It comes as no surprise that she sites Giacometti and Rodin as amongst her influences. Yet these soft charcoal and pastel drawings are deeply political. In Walker’s hand the methodical making of lines on a wall and the erasing of them is a form of quiet activism. The article published here features drawings from the 2015 exhibition Sub Urban staged at the James Hockey Gallery, Farnham, Surrey, in which Walker examined contemporary stereotypes through the study of the dress codes and fashions adopted by young women. [ABSTRACT FROM AUTHOR]

This paper takes as its starting point the forcible closure of an art exhibit at the 2015 Venice Biennale in order to illustrate wider dynamics of rising Islamophobia across Europe today. THE MOSQUE was the Icelandic national contribution to the Biennale, an exhibit that lasted only two weeks before being shut down by the local authorities for ‘public safety reasons’. Presented in its press release as ‘merely a visual analog’ of a mosque, the installation was made ‘real’ as the Venetian Islamic community began using it as a site for gathering and prayers, an all-too-real performance that sparked protests and brought the installation’s closure. The fate of THE MOSQUE is a compelling story that speaks to a series of broader struggles over visibility and invisibility, and over who and what has the right to appear in the landscape of a European city. It speaks to the phantom menace of a fetishized Islam that is haunting Europe today, as nativist and anti-immigrant movements mobilize against perceived threats to imagined urban orders. [ABSTRACT FROM PUBLISHER]

This article describes the process educators at Cornell Botanic Gardens undertook to interpret the Ecological Calendar research project for public audiences. An ecological calendar is a way of keeping track of seasonal changes in a habitat. Many communities use and have used such calendars to coordinate their subsistence activities based on these seasonal events. Using interpretive and design planning processes, educators developed an exhibition in the Gardens' welcome center to help the visiting public understand what ecological calendars are, how they are used by communities most impacted by climate change, and their great potential for use by people around the world to adapt to increasing uncertainty associated with changes such as the increase in extreme weather events. To further help the public understand ecological calendars, two artists were invited to create art installations as part of the whole exhibition based on the research and knowledge from participating communities. Finally, project team members worked with educators to develop an environmental education activity that could be used at the Gardens and in primary and secondary schools to educate students about the value of ecological calendars and how to create them. The team was invited to submit a summary of their exhibition development process to this journal, as part of this special issue and to describe the process they took to communicate the ecological calendar research to a public audience. The process, which included an interdisciplinary team of scientists, Indigenous community members, artists, and educators' emphasized co‐creation and the benefits of including multiple voices and viewpoints. It also describes interpretation—a purposeful approach to communication that facilitates meaning and understanding—and offers an example of how this discipline can be used by the scientific community to help convey their work to public audiences. Plain Language Summary: This article describes the process educators at Cornell Botanic Gardens undertook to interpret the Ecological Calendar research project for public audiences. Interpretation is a communication process that reveals meanings and relationships through direct experience with objects, artifacts, sites, and landscapes. Using interpretive and design planning processes, educators developed an exhibition to help the visiting public understand what ecological calendars are, how they are used by communities most impacted by climate change, and their potential for use by people around the world to adapt to increasing uncertainty associated with climate change. The exhibition included a photographic narrative; glass case exhibits comprised of objects, photos, and narratives; and displays of ecological calendars. To further public understanding of the ecological calendars, two artists were invited to create art installations to provide a different interpretive perspective. Finally, research team members worked with educators to develop an education activity that could be used at the Gardens and in primary and secondary schools to educate students about the value of ecological calendars, how to create and use them. An evaluation of the exhibition showed that respondents understood what ecological calendars are, why communities were participating in the research project and the benefits of developing ecological calendars. Key Points: Interpretation, exhibit, art, and education are used at a botanic garden to help public audiences understand ecological calendarsEcological calendars and climate adaptation are explained through exhibition and art installations are used to provoke a different viewpointA prototype activity was developed for secondary school students to teach about ecological calendars [ABSTRACT FROM AUTHOR]

By contrast, Vansina - Flemish, pragmatic, realist, and positivist-leaning - had studied social anthropology in London (Vansina 1994). The second (Vansina 2014) narrates Vansina's childhood in wartime Flanders, reckoning with his Flemish identity and ethics in the contexts of the war and Flemish-francophone divides. GRAPH Jan Vansina, a pioneering Africanist anthropologist and historian who wrote many books on precolonial kingdoms and the forest peoples of central Africa, died at his home in Madison, Wisconsin, in 2017. IRSAC's multidisciplinary approach to the human sciences (Vansina 1960; Vansina 1970) marked Vansina's historical imagination for decades, while his early scholarship aimed at "truths" articulated in a scientific tenor. [Extracted from the article]

Blurring the lines between public and private language by displaying a series of hand-written letters and envelopes sent through the mail, Susan Jahoda’sFlight Patternsquestions if the demarcation between public and private language is ever really possible. As a matter of central importance to studies of performance and rhetoric, ultimately, Jahoda suggests that performances of the self are constructed by language that is unavoidably, and simultaneously, public and private. The act ofaddressingis a rhetorical performance, or a performance of rhetoric, for the ways in which language both demarcates and blurs the boundaries of self and other. [ABSTRACT FROM PUBLISHER]