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History of Art, Architecture, and Archaeology Commons™
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- André Malraux (1)
- Art canon (1)
- Art tourism (1)
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- Circulation of images (1)
- Colour reproduction (1)
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- Mario Pedrosa (1)
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- Pierre Restany (1)
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Articles 1 - 3 of 3
Full-Text Articles in History of Art, Architecture, and Archaeology
Circulation Of Images, From Recognition To Erasure: An Artist’S Response, Lei Xie
Circulation Of Images, From Recognition To Erasure: An Artist’S Response, Lei Xie
Artl@s Bulletin
This article revolves around my practice, as an artist, which has an essential link with images and their circulation. In a subtle way, painting offers me a language allowing me to explore the polysemy of the chosen image, to experience a vocabulary both figurative and abstract. My practice could choose and process "ordinary" images, which are diffused but whose diffusion does not alter the subject, and has no consequence on the latter. It can also retain images whose strength is intrinsic to their circulation, to their popularization, to their controversy, images which will however ultimately generate paintings, and simultaneously erasing …
How To Build A World Art: The Strategic Universalism Of Colour Reproductions And The Unesco Prize (1953-1968), Chiara Vitali
How To Build A World Art: The Strategic Universalism Of Colour Reproductions And The Unesco Prize (1953-1968), Chiara Vitali
Artl@s Bulletin
What role did UNESCO play in the art world of the post-war era? This article makes use of published and archival sources in order to clarify the utopia of a “World Art” that shaped UNESCO and led to the “Archives of Colour Reproductions of Works of Art”, a project of worldwide collect and diffusion of images of “masterworks” inspired by Malraux’s “Museum without walls”. This case study focuses on one particular aspect of the project, the “UNESCO Prize”, conceived by the Brazilian art critic and Marxist intellectual Mario Pedrosa for the 1953 São Paulo Biennial.
The Copy & The Real Thing: Changing Perceptions Between The Rubens Centennials In 1877 And 1977, Griet Bonne
The Copy & The Real Thing: Changing Perceptions Between The Rubens Centennials In 1877 And 1977, Griet Bonne
Artl@s Bulletin
In this paper I examine the changing relationship between mechanical reproductions and the original artwork in the context of the Rubens centennials in 1877 and 1977. Drawing on theorists such as Walter Benjamin, Dean MacCannell, Hans Belting and Boris Groys, I argue that the mechanism of copying generates a double logic of image perception: a simultaneous centrifugal and centripetal circulation of images that affects how people perceive art in modern society. I explore this perception dynamic by looking at two photo-exhibitions during the Rubens centennials.