Contemporary Art Commons^™

The Legacies And Potentials Of Feminism In Art De Appel Arts Centre, Amsterdam: A Case Study, Tatyana Neplioueva

Independent Study Project (ISP) Collection

This report is the outcome of a month-long practicum and exploratory study of the history of feminist art at de Appel arts centre, an internationally oriented arts center located in Amsterdam. The result of this study is a documentary film exploring the connections between Feministische Kunst Internationaal (Feminist Art International), a show held at de Appel in the winter of 1978-'79, and If I Can't Dance, I Don't Want To Be Part Of Your Revolution (IICD) Edition III “Masquerade,” a rolling curatorial platform working in collaboration with de Appel in the fall of 2008. Data was obtained by means of …

Casting A Net: Contemporary Drawing Practices And Strategies, Brian Fay

Other resources

Casting a Net: Contemporary Drawing Practices and Strategies is an overview of national and international drawing practices and considering these in relation to the work of John Beattie.

Politique Culturelle : Tradition, Modernité Et Arts Contemporains Au Sénégal, 1960-2000, Kinsey Katchka

Présence Francophone: Revue internationale de langue et de littérature

This essay approaches contemporary arts in Senegal and their exhibition from the perspective of cultural policy. This is an especially salient approach in Senegal, where policy has played a significant role in exhibition and creative practice since the colonial period. This history is conventionally examined through a distinctly nationalist framework that reveals the government’s clear distinction between "tradition" and "modernity". State exhibition practice and rhetoric have reinforced this dichotomy, serving to position the Senegalese state as purveyor, definer, and arbiter of cultural heritage. However, diverse creative expressions throughout the capital city of Dakar call into question nationalist rhetoric’s rigid distinction …

Biennale Et Effervescence Artistique Au Sénégal : Conjonctions Et Passerelles, Hélène Tissières

Présence Francophone: Revue internationale de langue et de littérature

The Dakar Biennial, Dak’Art, plays a key role and is the only event of this kind on the african continent. Held in a country where there is an abundant artistic production, it prolongs Senghor’s objectives (underlining the importance of the collective, intertwining art forms, investing mystical positions). Made of an “In” and “Off”, its structure dismantles divisions between popular/theoretical, accessible/obscure, autodidact/trained and promotes a dialog between people and approaches. Many Senegalese artists proceed in a similar fashion, assembling concepts (orality, signs, cultural references, categories), drawing from the world at large. Inscribing memory, they invite us to interrogate our future beyond …

Logiques Urbaines Dans Les Arts Plastiques : De La Filiation De Jean-Michel Basquiat Au Sénégal, Massamba Mbaye

Présence Francophone: Revue internationale de langue et de littérature

ertain Senegalese painters, including Soly Cissé, Camara Guèye, Birame Ndiaye and Samba Fall draw their inspiration from the city’s structure. Attentive to the tensions it produces as well as the daily struggles to survive, they transpose urban walls in their paintings to better transgress them, go beyond pre-imposed limits. One can therefore ask what is the influence of a painter like Basquiat on these contemporary painters ? Approaches and needs found in Senegal differ greatly from those found in the United States ; however interesting links can be traced that allow for a better understanding of present Senegalese art.

Projets De Collection Et D’Exposition D’Art Sénégalais : Être Mécène D’Art À Dakar, Joanna Grabski

Présence Francophone: Revue internationale de langue et de littérature

The collection of Bassam Chaitou and its recent exhibition in Dakar offers a focal point to examine issues associated with private projects of collecting and exhibiting Senegalese art in Dakar. This article considers the relationship of Dakar’s collectors to historical patronage under Senghor and Dakar’s contemporary art scene. It proposes that private Dakar-based projects of collecting make visible a story about local propositions and dialogues about art. Dakar-based projects of collecting reveal a great deal about the city’s art scene, its history, artists, and trends.

La Dimension Cachée De L’Art Sénégalais Contemporain, Allen F. Roberts, Mary Nooter Roberts

Présence Francophone: Revue internationale de langue et de littérature

For nearly fifty years now, Dakar has been an epicenter of contemporary art, not just for continental Africa but for the entire world. Senegalese artists are well known internationally through participation in biennials, exhibitions, and gallery shows ; and many argue that they are contemporary artists from Senegal rather than “Senegalese artists” defined or constrained by their african identity. Among these, however, some match the global techniques and aesthetics of their works with local meanings derived from mystical Islam. Indeed, this “hidden side” can be very significant to the artists themselves even though it may be ignored by cosmopolitan connoisseurs.

Downing, Joseph Dudley, 1925-2007 (Sc 1660), Manuscripts & Folklife Archives

MSS Finding Aids

Finding aid only for Manuscripts Small Collection 1660. Letters from Joseph Dudley "Joe" Downing to "friends at the Kentucky Museum"; one discusses at length a Downing painting titled "Saint Francis of Assisi Uside Down, and Several Colleagues Agape."

The Art Of The Pink Nun: Evangelical Christianity And The Performance Of Capitalism, Sonia M. Hazard

Religious Studies Honors Projects

The Pink Nun is an underground feminist performance artist, chastity advocate and pious evangelical Christian. In her artwork, the Pink Nun ironically deploys the methodologies and visual vocabulary of late American consumer capitalism, such that the evangelical Christian values of chastity and sexual purity become products to be bought and sold. In this unorthodox appropriation of capitalism, the Pink Nun finds an alternative way to preach her message, engage a self-announcing secular culture, and perhaps ultimately “harvest souls.” I argue that religion here does not perform in a conventionally “religious” way; it may be manifest more subtly, entwined with and …

This Bridge Called Imagination: On Reading The Arab Image Foundation And Its Collection, Dore Bowen

Faculty Publications

This essay examines the benefits and disadvantages of using imagination as a method of historical research in the archive. Employing Jean-Paul Sartre's notion of “image-consciousness” in The Psychology of Imagination, imagination is defined and explored as a form of perception based upon temporal absence or suspension. This method is then discussed in relation to the exhibition “Not Given: Talking of and Around Photographs of Arab Women” (2006), curated by the author with artist Isabelle Massu. The installation was assembled with the cooperation of the Arab Image Foundation in Beirut and traveled from Marseille (2005-06) to San Francisco (2007). The author …

George D. Green: Influences Behind His Work, Dustin Klein

The Journal of Undergraduate Research

NOTE: This paper is part of a collective project that is published online in the Michigan based Undergraduate Research Journal for the Human Sciences, 2008 Special Edition: “Eye Deceptions: The Evolution of George Green’s Painting from the Late 1970’s to the Present” (http://www.kon.org/urc/v7/v7a/george-d-green-painting-evolution.html). Our sincere gratitude to Dr. Dorothy I. Mitstifer, Executive Director of the Undergraduate Research Journal for the Human Sciences, the Honors Society Kappa Omicron Nu and the Association of College Honor Societies, for authorizing the separate publication of this paper, as individual contribution, in the 2008 SDSU Journal of Undergraduate Research. All the reproduced images of paintings …

Parterre: An Installation By Lauren Fensterstock, Bowdoin College. Museum Of Art, Alison Ferris

Museum of Art Exhibition Catalogues

Catalog of an exhibition held at the Bowdoin College Museum of Art from Oct. 3, 2008 through Jan.11, 2009.

Essay by Alison Ferris.

Andrea Sulzer: After Nature, Bowdoin College. Museum Of Art, Katy Kline

Museum of Art Exhibition Catalogues

" ... accompanies an exhibition of the same name at the Bowdoin College Museum of Art from June 17 through August 27, 2008"--P. 16

Essay by Katy Kline.

2008 Artist In Residence Biennial (Exhibition Catalogue), Sam Yates, Michael Brakke

Ewing Gallery of Art & Architecture

The presence of acclaimed artists—who have lived and worked in major cultural centers across the country—enhances the educational opportunities for both undergraduate and graduate students enrolled in the University of Tennessee School of Art. With daily contact over the course of a full semester, resident artists develop a unique relationship with the student body which complements the creative stimulation offered by guest lecturers and the School of Art’s faculty. Representing diverse ethnic, cultural, educational, and professional backgrounds, these resident artists introduce another layer of candor and a fresh artistic standard for the students who, though early in their formal art …

Art Without Cultural Borders: Reflections On Qin Feng's Art, Curtis Carter

Philosophy Faculty Research and Publications

No abstract provided.

Expression As Vandalism: Asger Jorn’S Modifications, Karen Kurczynski

Karen Kurczynski

Establishes the political and artistic context for Asger Jorn's Modifications, a series of détourned kitsch canvases begun in Cobra around 1950 but first realized on flea market paintings in 1959 with Enrico Baj. Considers the Situationist theorization of the works as a form of détournement in the context of the post war art world's recuperation of the avant-garde; the impact of Dada, Duchamp and Picabia on the series; and the broader context of Nouveau Réalisme and the concurrent but only tangentially related series of Modifications by Daniel Spoerri.