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Descent
Descent animates alternative modes and materials of inheritance across generations of families, artists, and artworks. While inheritance, influence, and other acts of transmission often move down vertical lines of property and patrimony, the works in this exhibition unsettle this passage with forms of heredity that are often undervalued or unconventional: used or surplus possessions, intergenerational collaborations, maternal memories and matter, transatlantic journeys, spoken words, and sound waves.00Exhibition: Institute of Contemporary Art at the University of Pennsylvania, Philadelphia, United States (29.04. - 14.08.2016).
Handbook of Latin American Environmental Aesthetics
The Handbook of Latin American Environmental Aesthetics offers a comprehensive overview of Latin American aesthetic and conceptual production addressing the more-than-human environment at the intersection between art, activism, and critique. Fields include literature, performance, film, and other audiovisual media as well as their interactions with community activisms. Scholars who have helped establish environmental approaches in the field as well as emergent critical voices revisit key concepts such as ecocriticism, (post-)extractivism, and multinaturalism, while opening new avenues of dialogue with areas including critical race theory and ethnicity, energy humanities, queer-*trans studies...
The Eye, the Hand, the Mind
The Eye, the Hand, the Mind, celebrating the centennial of the College Art Association, is filled with pictorial mementos and enlivening stories and anecdotes that connects the organization's sixteen goals and tells its rich, sometimes controversial, story. Readers will discover its role in major issues in higher education, preservation of world monuments, workforce issues and market equity, intellectual property and free speech, capturing conflicts and reconciliations inherent among artists and art historians, pedagogical approaches and critical interpretations/interventions as played out in association publications, annual conferences, advocacy efforts, and governance.
Our Anthropocene: Eco Crises
The artists in this exhibition respond to the ecological crises of our Anthropocene, which we ignore at the peril of our own ecocide. Artists Include: Alma Collective (Christoph Both-Asmus/Owanto/Robbin Ami Silverberg/Andreas Wengel/Herv? Youmbi), Thorsten Baensch/Karin D?rr/Carolin R?ckelein/Zoe Zin Moe, Sammy Baloji, Julie Dodd, Stephan Erasmus, Nuno Henrique, Daniel Knorr, Guy Laram?e, Gideon Mendel, Barbara Milman, Heidi Neilson, Tara O?Brien, Sara Parkel, Susan Reynolds, Ian Van Coller, Shu-Ju Wang, K?the Wenzel, Thomas Parker Williams, Michelle Wilson, Philip Zimmermann
Der Traum meines ganzen Lebens
Die Reise auf Alexander von Humboldts Spuren in Lateinamerika war eine Pioniertat - eine sorgfältig geplante und ausgeführte Bildungsreise, die der Route des großen Naturforschers folgte und begleitet von Humboldts Tagebüchern nicht nur die Höhepunkte vorstellte, sondern möglichst genau die besuchten Orte in historischer Perspektive vorstellte, eine echte Zeitreise! Museen und Ausstellungen, Plantagen, Baulichkeiten, Denkmäler, Vorträge, Gespräche mit Forschern und Diplomaten, aber auch die Küche, die Haciendas, die Vulkane gehörten zum anstrengenden Reiseprogramm. Lediglich der Besuch Venezuelas wurde auf Grund der schwierigen politischen Lage des Landes ausgespart. Die Reise wurde mit dem Bus unternommen, soweit dies möglich war und war mit 59 Tagen länger und intensiver als die meisten Studienreisen. Diese Art des Reisens mag altmodisch erscheinen, gab aber die Möglichkeit, die Landschaften, Städte und Gebirge in gewissermaßen allmählicher Annäherung aufzunehmen und zu photographieren. So sind in diesem Band die Fotos ein ganz wichtiger Teil der von den Reisenden selbst beigesteuerten Eindrücke - nach der alten Erfahrung: Ein Bild sagt mehr als 1000 Wort!
Just One More
Since moving to New York City in 2012, Belfast-born visual artist Jonathan David Smyth has been photographing reflections of himself. Shot completely with his camera phone, this ongoing series of self-portraits combines issues of identity, displacement, belonging, and impermanence. As Smyth says, “I make photographs to prove I am here. My work is cathartic, but I want other people to relate to what I am presenting. Just One More is a work of moments; it is a visual diary of my life in New York City, and these photographs are the mappings of where I have been. The pictures already exist; I am just stepping into them.” Featuring fifty plates accompanied with handwritten captions, this monograph also includes a critical essay by the executive director of Photographic Center Northwest, Michelle Dunn Marsh, and a conversation between Jonathan David Smyth and photographer Dana Stirling.
The Process Genre
From IKEA assembly guides and “hands and pans” cooking videos on social media to Mister Rogers's classic factory tours, representations of the step-by-step fabrication of objects and food are ubiquitous in popular media. In The Process Genre Salomé Aguilera Skvirsky introduces and theorizes the process genre—a heretofore unacknowledged and untheorized transmedial genre characterized by its representation of chronologically ordered steps in which some form of labor results in a finished product. Originating in the fifteenth century with machine drawings, and now including everything from cookbooks to instructional videos and art cinema, the process genre achieves its most powerful affective and ideological results in film. By visualizing technique and absorbing viewers into the actions of social actors and machines, industrial, educational, ethnographic, and other process films stake out diverse ideological positions on the meaning of labor and on a society's level of technological development. In systematically theorizing a genre familiar to anyone with access to a screen, Skvirsky opens up new possibilities for film theory.
