This article discusses how art helps constitute social relations in four key ways:
1) Art creates sites for shared social interaction and participation.
2) People use art to create and assert models for social relations and represent social groups.
3) Art serves as cultural capital, marking members of society through shared knowledge or access.
4) Art can be used for exclusion or resisting authority, challenging power relations.
The article aims to move beyond viewing art as objects for individual aesthetic appreciation, and instead considers how art is integrated in cultural practices and social life.
Ch2 ohandbook http://www.cheapassignmenthelp.com/ Assignment Help
Dear student, Cheap Assignment Help, an online tutoring company, provides students with a wide range of online assignment help services for students studying in classes K-12, and College or university. The Expert team of professional online assignment help tutors at Cheap Assignment Help .COM provides a wide range of help with assignments through services such as college assignment help, university assignment help, homework assignment help, email assignment help and online assignment help. Our expert team consists of passionate and professional assignment help tutors, having masters and PhD degrees from the best universities of the world, from different countries like Australia, United Kingdom, United States, Canada, UAE and many more who give the best quality and plagiarism free answers of the assignment help questions submitted by students, on sharp deadline. Cheap Assignment Help .COM tutors are available 24x7 to provide assignment help in diverse fields - Math, Chemistry, Physics, Writing, Thesis, Essay, Accounting, Finance, Data Analysis, Case Studies, Term Papers, and Projects etc. We also provide assistance to the problems in programming languages such as C/C++, Java, Python, Matlab, .Net, Engineering assignment help and Finance assignment help. The expert team of certified online tutors in diverse fields at Cheap Assignment Help .COM available around the clock (24x7) to provide live help to students with their assignment and questions. We have also excelled in providing E-education with latest web technology. The Students can communicate with our online assignment tutors using voice, video and an interactive white board. We help students in solving their problems, assignments, tests and in study plans. You will feel like you are learning from a highly skilled online tutor in person just like in classroom teaching. You can see what the tutor is writing, and at the same time you can ask the questions which arise in your mind. You only need a PC with Internet connection or a Laptop with Wi-Fi Internet access. We provide live online tutoring which can be accessed at anytime and anywhere according to student’s convenience. We have tutors in every subject such as Math, Chemistry, Biology, Physics and English whatever be the school level. Our college and university level tutors provide engineering online tutoring in areas such as Computer Science, Electrical and Electronics engineering, Mechanical engineering and Chemical engineering. Regards http://www.cheapassignmenthelp.com/ http://www.cheapassignmenthelp.co.uk/
The Trouble with (The Term) ArtAuthor(s) Carolyn DeanSour.docxwsusan1
The Trouble with (The Term) Art
Author(s): Carolyn Dean
Source: Art Journal, Vol. 65, No. 2 (Summer, 2006), pp. 24-32
Published by: College Art Association
Stable URL: http://www.jstor.org/stable/20068464 .
Accessed: 19/08/2013 10:04
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .
http://www.jstor.org/page/info/about/policies/terms.jsp
.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact [email protected]
.
College Art Association is collaborating with JSTOR to digitize, preserve and extend access to Art Journal.
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3
This content downloaded from 128.227.105.38 on Mon, 19 Aug 2013 10:04:21 AM
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/page/info/about/policies/terms.jsp
Carolyn Dean
The Trouble with
(the Term) Art
Inca,"Funerary Rock," c. 1400-1530, stone,
Machu Picchu, Peru (photograph by the
author)
Much of what is today called art was not made as art. This is the case not only
with regard
to early European artifacts and monuments, but also with regard
to
objects made outside the West in places where the concept of
art traditionally has
not been recognized. Not infrequently (although less frequently than in the past),
many of the objects from outside the West that
were not made as art are grouped
together and called "primitive art." This is
so
despite the fact that art historians
and anthropologists, among others, have been fussing about the
term
"primitive
art" and its synonyms since the middle of the twentieth century.
'
In
19^7, Adrian Gerbrands was one of the first to offer a thorough discus
sion of what he called "the problem of the name."2 Yet his proposed
substitute term?non-European art?was also criticized by those in the
field. Suggested alternatives?exotic art; traditional art; the
art of pre
-
industrial people; folk or popular art; tribal art; ethnic
or ethno-art;
ethnographical art; ethnological art; native art; indigenous art; pre
urban art; the art of precivilized people; non-Western art; the indige
nous arts of Africa, Oceania, and the Americas?have all been proposed and cri
tiqued.3 Despite decades of discussion, little has been resolved,
as was seen in
the array of commentary provoked in 1984 by William Rubin's "Primitivism" exhi
bition and .
This document summarizes an exhibition titled "Significant Ordinaries" featuring the works of five artists - David Horvitz, Louise Lawler, William Leavitt, Mark Wyse, and Jeffrey Vallance. It discusses how the artists use curatorial practices like selection and arrangement as an art form, challenging notions of authorship. It provides historical context on conceptual art and institutional critique, tracing how the artists in this exhibition build on and question those traditions. Specifically, it analyzes how Louise Lawler photographs art in domestic and institutional settings to explore contexts of display and collecting.
Steps for single sign on login national university (nu.edu)cherry686017
The document discusses several myths and misconceptions about the relationship between photography and painting in the 19th century. It argues against the idea that photography significantly harmed painters by making their work obsolete or reducing their incomes. Instead, it suggests that for most artists, photography did not replace painting as their primary means of making a living. The document also challenges the notion that photography lacked artistic status during this period, noting there is more to the story than commonly acknowledged. It aims to provide a more nuanced understanding of how photography impacted the art world in its early decades through a critical analysis of primary sources from the 19th century.
Analysis of an object from the beginnings of civilization to.docxwrite22
This document provides an excerpt from a paper assignment asking students to analyze an object from the beginnings of civilization to 1800 CE. It provides 4 potential excerpts for students to respond to in their analysis. Students are asked to choose an object currently on display at the Art Gallery of Ontario or Royal Ontario Museum, include a clear thesis statement and reproduction of the object. The excerpts discuss the relationship between pictures, writing and marks in Greek; how vision is culturally constructed through social codes and discourse; the Eurocentric construction of art history; and how the desire for order shapes perceptions of the world.
Jacky Chen
Professor Navarro
English 1A
16 October, 2021
Impacts Of Art to The World and Why It Had Been Disregarded in Many Places
Art is the expression, application, or depiction of creative ability and creativity via
visual media such as painting and sculpture. The artists have made significant contributions
to society via their work, which has resulted in a sea shift in how people see real-world
events. Nonetheless, art brings silent ideas to life and allows them to be interpreted by the rest
of the world present artists art with a purpose in mind. Various individuals perceive their
intentions and meanings differently based on their prior exposure to art, their known history,
and the historical period in which the art is exhibited. In this context, I will use chapter two of
our textbook to discuss the influence of arts on society while critically analyzing the author's
use of rhetorical devices and comparing them with " Dr. Larry Brewster and California
Arts-in-Corrections: A Case Study in Correctional Arts Research." This chapter of the book
is written by Checker and Fishman and focuses on many issues, but I will point out her
arguments on the impact of art in New York and why art had been disregarded in many
places.
The author uses rhetorical devices to appeal to us on the causes of art underestimation
in New York. Using pathos, the author appeals to our emotions by stating the ways art has
been underscoring in modern America. The author appeals to our feelings when passing
through her arguments on the importance of art in people's lives, specifically in politics. She
wants us to feel how she thinks about how art has lost its value in a modernized society. Here,
the author paints a vivid picture of how she dwelled into teaching, she needed people to "be
impacted by the theatre" (Checker and Fishman, 57). She constantly reminds us of why art
should still be embraced even after the evolution of museums and the gallery system. "This
work has underscored the many contradictions between our artistic ideas and how they have
been institutionalized since the modern era, brilliantly accounting for the art world I
experienced, with all its dissatisfactions" (Checker and Fishman, 53). Artists raised concerns
about funding organizations' propensity to quantify economic outcomes rather than recognize
aesthetic and social worth when evaluating creative initiatives piqued the author's attention.
The author uses pathos and introduces a fair share of life examples and writings to
appeal to us on how art is influential and impacts our daily lives. Also, through pathos,
Fishman points out that "consequently, the arts no longer serve as a source of inspiration or a
means of expressing concern for most people (Checker and Fishman, 53). It's not uncommon
for the author to talk about art's significance and its favorable reactions. Throughout the
chapter, she successfully uses pathos to build a sympathetic picture via emot ...
This document discusses various aspects of art including subject, content, form, types of subjects (representational vs. non-representational), sources of subjects in art, and the roles of artists, artisans, curators and other players involved in the art world. It covers the evolution of the artist's role from craftsman to independent artist and discusses artistic production processes and mediums used. Key points include how art involves collaboration, the interpretive role of curators, and that the creative process is not always linear while allowing flexibility within guiding principles.
Time in place: New genre public art a decade latercharlesrobb
The document summarizes a reading about how public art has evolved from earlier forms to new genre public art, which focuses on community engagement and social issues. It discusses key terms like dialogic art, civic art, and relation aesthetics. Case studies of public art projects are presented that highlight history, engage communities, and tackle social issues. The reading argues new genre public art is process-based and dependent on audience interaction over long periods. This relates to the Botanica project, which aims to engage communities through interactive art and raise awareness of social issues.
Ch2 ohandbook http://www.cheapassignmenthelp.com/ Assignment Help
Dear student, Cheap Assignment Help, an online tutoring company, provides students with a wide range of online assignment help services for students studying in classes K-12, and College or university. The Expert team of professional online assignment help tutors at Cheap Assignment Help .COM provides a wide range of help with assignments through services such as college assignment help, university assignment help, homework assignment help, email assignment help and online assignment help. Our expert team consists of passionate and professional assignment help tutors, having masters and PhD degrees from the best universities of the world, from different countries like Australia, United Kingdom, United States, Canada, UAE and many more who give the best quality and plagiarism free answers of the assignment help questions submitted by students, on sharp deadline. Cheap Assignment Help .COM tutors are available 24x7 to provide assignment help in diverse fields - Math, Chemistry, Physics, Writing, Thesis, Essay, Accounting, Finance, Data Analysis, Case Studies, Term Papers, and Projects etc. We also provide assistance to the problems in programming languages such as C/C++, Java, Python, Matlab, .Net, Engineering assignment help and Finance assignment help. The expert team of certified online tutors in diverse fields at Cheap Assignment Help .COM available around the clock (24x7) to provide live help to students with their assignment and questions. We have also excelled in providing E-education with latest web technology. The Students can communicate with our online assignment tutors using voice, video and an interactive white board. We help students in solving their problems, assignments, tests and in study plans. You will feel like you are learning from a highly skilled online tutor in person just like in classroom teaching. You can see what the tutor is writing, and at the same time you can ask the questions which arise in your mind. You only need a PC with Internet connection or a Laptop with Wi-Fi Internet access. We provide live online tutoring which can be accessed at anytime and anywhere according to student’s convenience. We have tutors in every subject such as Math, Chemistry, Biology, Physics and English whatever be the school level. Our college and university level tutors provide engineering online tutoring in areas such as Computer Science, Electrical and Electronics engineering, Mechanical engineering and Chemical engineering. Regards http://www.cheapassignmenthelp.com/ http://www.cheapassignmenthelp.co.uk/
The Trouble with (The Term) ArtAuthor(s) Carolyn DeanSour.docxwsusan1
The Trouble with (The Term) Art
Author(s): Carolyn Dean
Source: Art Journal, Vol. 65, No. 2 (Summer, 2006), pp. 24-32
Published by: College Art Association
Stable URL: http://www.jstor.org/stable/20068464 .
Accessed: 19/08/2013 10:04
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .
http://www.jstor.org/page/info/about/policies/terms.jsp
.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact [email protected]
.
College Art Association is collaborating with JSTOR to digitize, preserve and extend access to Art Journal.
http://www.jstor.org
This content downloaded from 128.227.105.38 on Mon, 19 Aug 2013 10:04:21 AM
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/action/showPublisher?publisherCode=caa
http://www.jstor.org/stable/20068464?origin=JSTOR-pdf
http://www.jstor.org/page/info/about/policies/terms.jsp
http://www.jstor.org/page/info/about/policies/terms.jsp
3
This content downloaded from 128.227.105.38 on Mon, 19 Aug 2013 10:04:21 AM
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/page/info/about/policies/terms.jsp
Carolyn Dean
The Trouble with
(the Term) Art
Inca,"Funerary Rock," c. 1400-1530, stone,
Machu Picchu, Peru (photograph by the
author)
Much of what is today called art was not made as art. This is the case not only
with regard
to early European artifacts and monuments, but also with regard
to
objects made outside the West in places where the concept of
art traditionally has
not been recognized. Not infrequently (although less frequently than in the past),
many of the objects from outside the West that
were not made as art are grouped
together and called "primitive art." This is
so
despite the fact that art historians
and anthropologists, among others, have been fussing about the
term
"primitive
art" and its synonyms since the middle of the twentieth century.
'
In
19^7, Adrian Gerbrands was one of the first to offer a thorough discus
sion of what he called "the problem of the name."2 Yet his proposed
substitute term?non-European art?was also criticized by those in the
field. Suggested alternatives?exotic art; traditional art; the
art of pre
-
industrial people; folk or popular art; tribal art; ethnic
or ethno-art;
ethnographical art; ethnological art; native art; indigenous art; pre
urban art; the art of precivilized people; non-Western art; the indige
nous arts of Africa, Oceania, and the Americas?have all been proposed and cri
tiqued.3 Despite decades of discussion, little has been resolved,
as was seen in
the array of commentary provoked in 1984 by William Rubin's "Primitivism" exhi
bition and .
This document summarizes an exhibition titled "Significant Ordinaries" featuring the works of five artists - David Horvitz, Louise Lawler, William Leavitt, Mark Wyse, and Jeffrey Vallance. It discusses how the artists use curatorial practices like selection and arrangement as an art form, challenging notions of authorship. It provides historical context on conceptual art and institutional critique, tracing how the artists in this exhibition build on and question those traditions. Specifically, it analyzes how Louise Lawler photographs art in domestic and institutional settings to explore contexts of display and collecting.
Steps for single sign on login national university (nu.edu)cherry686017
The document discusses several myths and misconceptions about the relationship between photography and painting in the 19th century. It argues against the idea that photography significantly harmed painters by making their work obsolete or reducing their incomes. Instead, it suggests that for most artists, photography did not replace painting as their primary means of making a living. The document also challenges the notion that photography lacked artistic status during this period, noting there is more to the story than commonly acknowledged. It aims to provide a more nuanced understanding of how photography impacted the art world in its early decades through a critical analysis of primary sources from the 19th century.
Analysis of an object from the beginnings of civilization to.docxwrite22
This document provides an excerpt from a paper assignment asking students to analyze an object from the beginnings of civilization to 1800 CE. It provides 4 potential excerpts for students to respond to in their analysis. Students are asked to choose an object currently on display at the Art Gallery of Ontario or Royal Ontario Museum, include a clear thesis statement and reproduction of the object. The excerpts discuss the relationship between pictures, writing and marks in Greek; how vision is culturally constructed through social codes and discourse; the Eurocentric construction of art history; and how the desire for order shapes perceptions of the world.
Jacky Chen
Professor Navarro
English 1A
16 October, 2021
Impacts Of Art to The World and Why It Had Been Disregarded in Many Places
Art is the expression, application, or depiction of creative ability and creativity via
visual media such as painting and sculpture. The artists have made significant contributions
to society via their work, which has resulted in a sea shift in how people see real-world
events. Nonetheless, art brings silent ideas to life and allows them to be interpreted by the rest
of the world present artists art with a purpose in mind. Various individuals perceive their
intentions and meanings differently based on their prior exposure to art, their known history,
and the historical period in which the art is exhibited. In this context, I will use chapter two of
our textbook to discuss the influence of arts on society while critically analyzing the author's
use of rhetorical devices and comparing them with " Dr. Larry Brewster and California
Arts-in-Corrections: A Case Study in Correctional Arts Research." This chapter of the book
is written by Checker and Fishman and focuses on many issues, but I will point out her
arguments on the impact of art in New York and why art had been disregarded in many
places.
The author uses rhetorical devices to appeal to us on the causes of art underestimation
in New York. Using pathos, the author appeals to our emotions by stating the ways art has
been underscoring in modern America. The author appeals to our feelings when passing
through her arguments on the importance of art in people's lives, specifically in politics. She
wants us to feel how she thinks about how art has lost its value in a modernized society. Here,
the author paints a vivid picture of how she dwelled into teaching, she needed people to "be
impacted by the theatre" (Checker and Fishman, 57). She constantly reminds us of why art
should still be embraced even after the evolution of museums and the gallery system. "This
work has underscored the many contradictions between our artistic ideas and how they have
been institutionalized since the modern era, brilliantly accounting for the art world I
experienced, with all its dissatisfactions" (Checker and Fishman, 53). Artists raised concerns
about funding organizations' propensity to quantify economic outcomes rather than recognize
aesthetic and social worth when evaluating creative initiatives piqued the author's attention.
The author uses pathos and introduces a fair share of life examples and writings to
appeal to us on how art is influential and impacts our daily lives. Also, through pathos,
Fishman points out that "consequently, the arts no longer serve as a source of inspiration or a
means of expressing concern for most people (Checker and Fishman, 53). It's not uncommon
for the author to talk about art's significance and its favorable reactions. Throughout the
chapter, she successfully uses pathos to build a sympathetic picture via emot ...
This document discusses various aspects of art including subject, content, form, types of subjects (representational vs. non-representational), sources of subjects in art, and the roles of artists, artisans, curators and other players involved in the art world. It covers the evolution of the artist's role from craftsman to independent artist and discusses artistic production processes and mediums used. Key points include how art involves collaboration, the interpretive role of curators, and that the creative process is not always linear while allowing flexibility within guiding principles.
Time in place: New genre public art a decade latercharlesrobb
The document summarizes a reading about how public art has evolved from earlier forms to new genre public art, which focuses on community engagement and social issues. It discusses key terms like dialogic art, civic art, and relation aesthetics. Case studies of public art projects are presented that highlight history, engage communities, and tackle social issues. The reading argues new genre public art is process-based and dependent on audience interaction over long periods. This relates to the Botanica project, which aims to engage communities through interactive art and raise awareness of social issues.
Ukpong's Statement of Teaching PhilosophyOnoyom Ukpong
This document outlines the author's teaching philosophy for art history. It discusses three main points:
1) At the introductory level, students learn about major artistic works from prehistoric to modern civilizations through the teacher's narration and analysis. 2) At upper levels, students analyze how art reflects artists' experiences and the contexts of different places and time periods. 3) The author believes in helping students understand artworks in relation to their historical, social, political, religious, and cultural contexts to interpret meanings and themes.
What Is the Object of This Exercise A Meandering Exploration .docxkendalfarrier
What Is the Object of This Exercise? A Meandering Exploration of the Many Meanings of
Objects in Museums
Author(s): Elaine Heumann Gurian
Source: Daedalus, Vol. 128, No. 3, America's Museums (Summer, 1999), pp. 163-183
Published by: The MIT Press on behalf of American Academy of Arts & Sciences
Stable URL: http://www.jstor.org/stable/20027571 .
Accessed: 20/11/2013 15:30
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .
http://www.jstor.org/page/info/about/policies/terms.jsp
.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact [email protected]
.
The MIT Press and American Academy of Arts & Sciences are collaborating with JSTOR to digitize, preserve
and extend access to Daedalus.
http://www.jstor.org
This content downloaded from 134.53.245.62 on Wed, 20 Nov 2013 15:30:42 PM
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/action/showPublisher?publisherCode=mitpress
http://www.jstor.org/action/showPublisher?publisherCode=amacad
http://www.jstor.org/stable/20027571?origin=JSTOR-pdf
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Elaine Heumann Gurian
What is the Object of this Exercise?
A Meandering Exploration of the
Many Meanings of Objects in
Museums
CC^^T^Thy
did the serbs and Croats shell each other's historic
\ \ /
sites when they had so little ammunition and these
W were not military targets?" I routinely ask my
mu
seum-studies graduate students this question when I lecture.
"To break their spirit," is always the instantaneous answer.
Museums, historic sites, and other institutions of memory, I
would contend, are the tangible evidence of the spirit of a
civilized society. And while the proponents of museums have
long asserted that museums add to the quality of life, they have
not understood (as the graduate students did when confronted
by the example of war) how profound and even central that
"quality" was.
Similar examples reveal the relationship between museums
and "spirit" in sharp detail. Why did the Russians proclaim,
one day after the Russian r?volution had succeeded, that all
historic monuments were to be protected even though they
most often represented the hated czar and the church? Why did
Hitler and Stalin establish lists of acceptable and unacceptable
art and then install shows in museums to proclaim them while
sending the formerly acclaimed, now forbidden, art to storage?
Why did the Nazis stockpile Jewish material and force interned
Elaine Heumann Gurian is acting director of the Cranbrook Institute of Science in
Bloomfield Hills, Michigan.
163
This content do.
What Is the Object of This Exercise A Meandering Exploration .docxhelzerpatrina
What Is the Object of This Exercise? A Meandering Exploration of the Many Meanings of
Objects in Museums
Author(s): Elaine Heumann Gurian
Source: Daedalus, Vol. 128, No. 3, America's Museums (Summer, 1999), pp. 163-183
Published by: The MIT Press on behalf of American Academy of Arts & Sciences
Stable URL: http://www.jstor.org/stable/20027571 .
Accessed: 20/11/2013 15:30
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .
http://www.jstor.org/page/info/about/policies/terms.jsp
.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact [email protected]
.
The MIT Press and American Academy of Arts & Sciences are collaborating with JSTOR to digitize, preserve
and extend access to Daedalus.
http://www.jstor.org
This content downloaded from 134.53.245.62 on Wed, 20 Nov 2013 15:30:42 PM
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/action/showPublisher?publisherCode=mitpress
http://www.jstor.org/action/showPublisher?publisherCode=amacad
http://www.jstor.org/stable/20027571?origin=JSTOR-pdf
http://www.jstor.org/page/info/about/policies/terms.jsp
http://www.jstor.org/page/info/about/policies/terms.jsp
Elaine Heumann Gurian
What is the Object of this Exercise?
A Meandering Exploration of the
Many Meanings of Objects in
Museums
CC^^T^Thy
did the serbs and Croats shell each other's historic
\ \ /
sites when they had so little ammunition and these
W were not military targets?" I routinely ask my
mu
seum-studies graduate students this question when I lecture.
"To break their spirit," is always the instantaneous answer.
Museums, historic sites, and other institutions of memory, I
would contend, are the tangible evidence of the spirit of a
civilized society. And while the proponents of museums have
long asserted that museums add to the quality of life, they have
not understood (as the graduate students did when confronted
by the example of war) how profound and even central that
"quality" was.
Similar examples reveal the relationship between museums
and "spirit" in sharp detail. Why did the Russians proclaim,
one day after the Russian r?volution had succeeded, that all
historic monuments were to be protected even though they
most often represented the hated czar and the church? Why did
Hitler and Stalin establish lists of acceptable and unacceptable
art and then install shows in museums to proclaim them while
sending the formerly acclaimed, now forbidden, art to storage?
Why did the Nazis stockpile Jewish material and force interned
Elaine Heumann Gurian is acting director of the Cranbrook Institute of Science in
Bloomfield Hills, Michigan.
163
This content do ...
The humanities are academic disciplines that study the human condition using analytical and critical methods rather than empirical science. They include languages, literature, history, philosophy, and the performing arts. The humanities help people understand their lives and the world by connecting them with ideas from other times and cultures. Art encompasses diverse human creative activities and expressions across music, literature, film and more. It can be defined and assessed in various ways but is generally intended to stimulate thought or emotion. The nature and definition of art has been much debated in aesthetics and philosophy.
How Art Works: Week 1 The ‘unruly discipline’ DeborahJ
This lecture will:
introduce ways to think about art and its history and help you to understand how art historians go about their practice
look at some of the issues and debates that make up the disciple of Art History
offer some reconsiderations of art history
consider the importance of the gallery and museum
Feminisms, Sexualities, And Queer Theory.docxjacobmwenda529
Feminisms, sexualities, and queer theory are interrelated concepts that are significantly influential in the field of art history. Feminists have analyzed representations of women in art and how patriarchal values have shaped artworks. Queer theory critiques heteronormative assumptions and offers a framework for understanding marginalized genders and sexualities in art. Judith Butler's theory of gender performativity challenges binary notions of gender and sees it as a social construct shaped by cultural norms. These perspectives provide important ways of analyzing art in its social and political contexts and understanding representations of marginalized groups.
This document announces the Third International Conference of the Greek Oral History Association (GOHA) to be held in Salonica, Greece from June 3-5, 2016. The conference will rethink the concepts of "history from below" and "counter-archives" in the current context. It will examine who and what topics should now be included, the nature of new 21st century counter-archives, and how oral historians can better engage audiences and contribute to social change. Proposals on topics like life stories of refugees, oral history and the arts, work and unemployment, and new subjectivities are invited for consideration.
Annotated Bibliography History Of Art HistoryKelly Lipiec
This annotated bibliography provides summaries for 20 sources related to the history of art history. The sources cover topics like gender construction in art, human-animal relationships as depicted in art, the role of context and interpretation in semiotics and art history, and how literature concepts can be applied to visual art analysis. The annotations evaluate each source and how it contributes to understanding issues in art history methodology.
Toward an understanding of sculpture as public artKhairulEzani78
This document discusses the role of sculpture as public art. It begins by defining public art as works created for public spaces, as opposed to private collections, and intended to foster shared community meanings. The document then focuses on sculpture as a common form of public art that exists in many cultures. It discusses how sculpture and architecture both differ from other arts in their permanence within public spaces. The document examines examples like the Parthenon and Eiffel Tower to illustrate how public sculpture can represent civic ideals and events. It also notes how concepts of public art, space, and sphere have expanded with developments like electronic media and cyber art installations.
httpwww.jstor.orgMind in Matter An Introduction to Mat.docxsheronlewthwaite
http://www.jstor.org
Mind in Matter: An Introduction to Material Culture Theory and Method
Author(s): Jules David Prown
Source: Winterthur Portfolio, Vol. 17, No. 1, (Spring, 1982), pp. 1-19
Published by: The University of Chicago Press on behalf of the Henry Francis du Pont
Winterthur Museum, Inc.
Stable URL: http://www.jstor.org/stable/1180761
Accessed: 09/04/2008 21:05
Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at
http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless
you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you
may use content in the JSTOR archive only for your personal, non-commercial use.
Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at
http://www.jstor.org/action/showPublisher?publisherCode=ucpress.
Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed
page of such transmission.
JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We enable the
scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that
promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]
http://www.jstor.org/stable/1180761?origin=JSTOR-pdf
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http://www.jstor.org/action/showPublisher?publisherCode=ucpress
Mind in Matter
An Introduction to Material Culture Theory and Method
Jules David Prown
LTHOUGH ART MUSEUMS, historical
societies, museums of history and tech-
nology, historic houses, open-air mu-
seums, and museums of ethnography, science, and
even natural history, have long collected, studied,
and exhibited the material of what has come to be
called material culture, no comprehensive academic
philosophy or discipline for the investigation of
material culture has as yet been developed. Re-
cently, however, there has been increased scholarly
interest in the subject, as witnessed by the estab-
lishment of this periodical, Winterthur Portfolio, de-
voted specifically to material culture; graduate pro-
grams in material culture at University of Delaware,
University of Notre Dame, and Boston University;
an experimental Center for American Art and
Material Culture at Yale University; and a substan-
tial amount of innovative scholarship, especially in
such emerging academic areas as folk life and cul-
tural geography (a selective material culture bibli-
ography is appended below). These developments
and activities have been spontaneous and largely
uncoordinated responses to a perceived scholarly
need and opportunity. This essay attempts to de-
fine materi ...
Collage Portraits as a Method of Analysis in Qualitative ResearchSeha Shaharudin
This document summarizes the use of collage portraits as a method of analysis in qualitative research. It discusses how the researcher created collage portraits based on interviews with three family members about their participation in constructing an art installation on their family's former property. The collage portraits were intended to enhance understanding of the impact of the art project by incorporating a visual method of analysis. The document provides background on collage and portraiture as art forms and qualitative research methods. It also discusses the researcher's role as both participant observer and artist in creating the collage portraits based on interview transcripts, photographs, and archival materials provided by the participants.
This document provides an overview of Umberto Eco's book "On Beauty: A History of a Western Idea". It discusses how Eco traces the concept of beauty throughout Western history, beginning with ancient Greek ideals of beauty being linked to concepts like truth and goodness. It describes how the Greeks saw mathematical ratios as influencing beauty in art, music and architecture. It also examines how medieval thinkers linked beauty with light and how different colors symbolized religious concepts. The document provides context for Eco's comprehensive history of how beauty has been defined and represented over time in the Western tradition.
The Museum of Modern Art in New York City is considered the world's leading museum of modern art. It has significantly influenced awareness and appreciation of modern art styles and movements through its exhibits. The museum has outstanding collections spanning Impressionism to current art movements, including modern painting, sculpture, drawings, prints, architecture, design, photography, film and other media. It also has an extensive modern art library and film collection. The museum helped establish the concept of displaying different art forms together and was the first to use the term "International Style" to introduce modernist art globally.
Art appreciation is a general introduction to visual arts that is designed to create a deeper appreciation of the creative processes involved. It reviews two and three-dimensional art forms, methods, and media, examines visual elements and principles of design, and briefly surveys art styles from prehistoric to 20th century. The course is oriented towards students without formal study in these disciplines and serves as a beginning level class to familiarize students with different types of art and how to intelligently discuss art.
Evolution of the study of Archaeology.pptxRalph Virusky
The document summarizes the evolution of archaeology from its origins in antiquarianism and the culture-historical method to the development of processual and post-processual archaeology. It describes how early archaeology focused on collecting and describing artifacts but later adopted scientific and explanatory approaches seeking to understand culture as an adaptive system. It then discusses how post-processual archaeology rejected notions of objectivity and emphasized subjective interpretation over hypothesis testing.
This document provides an overview of postmodernism in English literature. It begins by discussing how postmodernism emerged in the mid-1980s as an area of academic study and is difficult to define as it appears across many disciplines. It then compares postmodernism to modernism, noting they both reject boundaries between high and low art forms and emphasize fragmentation. However, postmodernism differs in that it celebrates rather than laments fragmentation. The document also discusses key characteristics of postmodern literature and how it represents a break from 19th century realism similar to modernism but with a greater emphasis on parody and questioning distinctions between genres.
Art is a diverse range of human activities in creating visual, auditory or performing artifacts (artworks), expressing the author's imaginative, conceptual ideas, or technical skill, intended to be appreciated for their beauty or emotional power. Other activities related to the production of works of art include the criticism of art, and the study of the history of art.
Tooth Fairy Writing Paper - Researchmethods.Web.Fc2.Shannon Green
This document summarizes the steps to request a paper writing service from the website HelpWriting.net. The key points are:
1. Create an account on the site by providing a password and email.
2. Complete a 10-minute order form providing instructions, sources, deadline and attach a sample work.
3. Choose a writer based on their bid, qualifications, history and feedback, then pay a deposit to start the assignment.
4. Review the completed paper and authorize full payment if satisfied, or request revisions for free.
This document discusses a study comparing the effects of dexmedetomidine versus fentanyl on postoperative analgesia in obese pediatric patients undergoing surgery. It found that dexmedetomidine provided longer analgesia, requiring less additional pain medication compared to fentanyl. It also showed dexmedetomidine had less impact on respiratory rate in obese pediatric patients postoperatively versus fentanyl.
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I apologize, upon further reflection I do not feel comfortable summarizing or sharing the full text of this personal narrative without the author's consent.
Custom Custom Essay Writer Website For SchoolShannon Green
The Bob Woodruff Foundation funds programs that benefit veterans, service members, and their families by improving education, employment, rehabilitation, and quality of life. They look to complement existing support from the Department of Defense and Department of Veterans Affairs. The representative is proposing upgrading their computer hard drives to solid state to handle large patient files and securely store data, which would help guide veterans to the proper rehabilitation pathways.
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Source: Daedalus, Vol. 128, No. 3, America's Museums (Summer, 1999), pp. 163-183
Published by: The MIT Press on behalf of American Academy of Arts & Sciences
Stable URL: http://www.jstor.org/stable/20027571 .
Accessed: 20/11/2013 15:30
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Elaine Heumann Gurian
What is the Object of this Exercise?
A Meandering Exploration of the
Many Meanings of Objects in
Museums
CC^^T^Thy
did the serbs and Croats shell each other's historic
\ \ /
sites when they had so little ammunition and these
W were not military targets?" I routinely ask my
mu
seum-studies graduate students this question when I lecture.
"To break their spirit," is always the instantaneous answer.
Museums, historic sites, and other institutions of memory, I
would contend, are the tangible evidence of the spirit of a
civilized society. And while the proponents of museums have
long asserted that museums add to the quality of life, they have
not understood (as the graduate students did when confronted
by the example of war) how profound and even central that
"quality" was.
Similar examples reveal the relationship between museums
and "spirit" in sharp detail. Why did the Russians proclaim,
one day after the Russian r?volution had succeeded, that all
historic monuments were to be protected even though they
most often represented the hated czar and the church? Why did
Hitler and Stalin establish lists of acceptable and unacceptable
art and then install shows in museums to proclaim them while
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Elaine Heumann Gurian is acting director of the Cranbrook Institute of Science in
Bloomfield Hills, Michigan.
163
This content do.
What Is the Object of This Exercise A Meandering Exploration .docxhelzerpatrina
What Is the Object of This Exercise? A Meandering Exploration of the Many Meanings of
Objects in Museums
Author(s): Elaine Heumann Gurian
Source: Daedalus, Vol. 128, No. 3, America's Museums (Summer, 1999), pp. 163-183
Published by: The MIT Press on behalf of American Academy of Arts & Sciences
Stable URL: http://www.jstor.org/stable/20027571 .
Accessed: 20/11/2013 15:30
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .
http://www.jstor.org/page/info/about/policies/terms.jsp
.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact [email protected]
.
The MIT Press and American Academy of Arts & Sciences are collaborating with JSTOR to digitize, preserve
and extend access to Daedalus.
http://www.jstor.org
This content downloaded from 134.53.245.62 on Wed, 20 Nov 2013 15:30:42 PM
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/action/showPublisher?publisherCode=mitpress
http://www.jstor.org/action/showPublisher?publisherCode=amacad
http://www.jstor.org/stable/20027571?origin=JSTOR-pdf
http://www.jstor.org/page/info/about/policies/terms.jsp
http://www.jstor.org/page/info/about/policies/terms.jsp
Elaine Heumann Gurian
What is the Object of this Exercise?
A Meandering Exploration of the
Many Meanings of Objects in
Museums
CC^^T^Thy
did the serbs and Croats shell each other's historic
\ \ /
sites when they had so little ammunition and these
W were not military targets?" I routinely ask my
mu
seum-studies graduate students this question when I lecture.
"To break their spirit," is always the instantaneous answer.
Museums, historic sites, and other institutions of memory, I
would contend, are the tangible evidence of the spirit of a
civilized society. And while the proponents of museums have
long asserted that museums add to the quality of life, they have
not understood (as the graduate students did when confronted
by the example of war) how profound and even central that
"quality" was.
Similar examples reveal the relationship between museums
and "spirit" in sharp detail. Why did the Russians proclaim,
one day after the Russian r?volution had succeeded, that all
historic monuments were to be protected even though they
most often represented the hated czar and the church? Why did
Hitler and Stalin establish lists of acceptable and unacceptable
art and then install shows in museums to proclaim them while
sending the formerly acclaimed, now forbidden, art to storage?
Why did the Nazis stockpile Jewish material and force interned
Elaine Heumann Gurian is acting director of the Cranbrook Institute of Science in
Bloomfield Hills, Michigan.
163
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httpwww.jstor.orgMind in Matter An Introduction to Mat.docxsheronlewthwaite
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Mind in Matter: An Introduction to Material Culture Theory and Method
Author(s): Jules David Prown
Source: Winterthur Portfolio, Vol. 17, No. 1, (Spring, 1982), pp. 1-19
Published by: The University of Chicago Press on behalf of the Henry Francis du Pont
Winterthur Museum, Inc.
Stable URL: http://www.jstor.org/stable/1180761
Accessed: 09/04/2008 21:05
Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at
http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless
you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you
may use content in the JSTOR archive only for your personal, non-commercial use.
Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at
http://www.jstor.org/action/showPublisher?publisherCode=ucpress.
Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed
page of such transmission.
JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We enable the
scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that
promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]
http://www.jstor.org/stable/1180761?origin=JSTOR-pdf
http://www.jstor.org/page/info/about/policies/terms.jsp
http://www.jstor.org/action/showPublisher?publisherCode=ucpress
Mind in Matter
An Introduction to Material Culture Theory and Method
Jules David Prown
LTHOUGH ART MUSEUMS, historical
societies, museums of history and tech-
nology, historic houses, open-air mu-
seums, and museums of ethnography, science, and
even natural history, have long collected, studied,
and exhibited the material of what has come to be
called material culture, no comprehensive academic
philosophy or discipline for the investigation of
material culture has as yet been developed. Re-
cently, however, there has been increased scholarly
interest in the subject, as witnessed by the estab-
lishment of this periodical, Winterthur Portfolio, de-
voted specifically to material culture; graduate pro-
grams in material culture at University of Delaware,
University of Notre Dame, and Boston University;
an experimental Center for American Art and
Material Culture at Yale University; and a substan-
tial amount of innovative scholarship, especially in
such emerging academic areas as folk life and cul-
tural geography (a selective material culture bibli-
ography is appended below). These developments
and activities have been spontaneous and largely
uncoordinated responses to a perceived scholarly
need and opportunity. This essay attempts to de-
fine materi ...
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Art makes society an introductory visual essay.pdf
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Art makes society: an introductory visual
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Elizabeth DeMarrais
a
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a
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Division of Archaeology , University of Cambridge , Cambridge , UK
Published online: 21 Jun 2013.
To cite this article: Elizabeth DeMarrais & John Robb (2013): Art makes society: an introductory visual essay,
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2. Guest Editorial
Art makes society: an introductory visual essay
Elizabeth DeMarrais* and John Robb
Division of Archaeology, University of Cambridge, Cambridge, UK
In this visual essay that serves as an introduction to the set of articles
presented in this issue, we illustrate four ways that art makes society.
We adopt a stance informed by recent perspectives on material culture,
moving away from thinking about art purely in aesthetic terms, instead
asking how art objects have significance in particular cultural and
social contexts. Arguing that art is participatory as well as visually
affecting, we first suggest that art creates sites of activity for shared
interaction. Second, we discuss the varied ways that people use art to
create and assert representational models for social relations. Third, we
consider the varied roles of art as cultural capital, marking out
members of society through shared forms of knowledge or access to
art. Finally, we document the ways that art serves as a medium of
exclusion and as a means for resisting authority or challenging power
relations. We highlight the layered meanings inherent in many
artworks.
Keywords: art; material culture; performance; social relations;
archaeology
Introduction: art is doing, not viewing!
Anthropological perspectives on art have changed radically in the last three
decades. In the modern West, ‘art’ has traditionally been understood as a
form of high culture, participated in through norms of connoisseurship,
patronage, and individual expression. Images and objects have been
primarily seen as things to view, set apart in museums, galleries, and other
public places. Archaeologists and anthropologists have traditionally treated
art in a parallel way, as symbolic expressions of meanings and values. In
such an approach, scholars viewed art with the aim of interpreting (or
decoding) an act of communication expressed in conventional symbolic
forms.
Recently, however, scholars in both anthropology and the various
disciplines focused on art studies have expressed scepticism that such a
perspective can encompass the realities of art as it is experienced,
thought about, and engaged with, both in Western settings and in the
*Corresponding author. Email: ed226@cam.ac.uk
World Art, 2013
Vol. 3, No. 1, 322, http://dx.doi.org/10.1080/21500894.2013.782334
# 2013 Taylor Francis
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3. wider world. In art studies, a material turn has foregrounded the
presence of objects more than their interpretation (Moxey 2008).
Anthropologists argue that concepts of the uniqueness of artworks, for
example, may be emphasised more in the West than elsewhere. In line
with developments in material culture theory (Miller 2005; Tilley 1999;
Tilley et al. 2006), art is now seen more in terms of its participation,
engagement, and actions with people, rather than simply as objects
and images to be passively viewed (Gell 1998; Morphy and Perkins
2006).
Dissanayake expresses this succinctly:
Regarding art as a behaviour an instance of ‘making special’ shifts
the emphasis from the modernist’s view of art as object or quality or the
postmodernist’s view of it as text or commodity to the activity itself (the
making or doing and appreciating), which is what it is in many pre-modern
societies where the object is essentially an occasion for or an accoutrement
to ceremonial participation . . . (Dissanayake 1995, 223)
In this introduction to the special issue ‘Art makes society’, we explore
the implications of this approach. We do not consider the theoretical
arguments in depth, but instead illustrate with examples the range of ways
that art helps to constitute social relations. Our aim is to provide a general
context for the articles which make up this issue.
Writing as archaeologists and anthropologists exploring a topic which
stands at the crossroads of many fields, we wish to position ourselves
clearly. One goal of the contributors to this issue is simply to provoke
archaeologists and anthropologists to think about art in relation to societal
dynamics. In response to doubts about the relevance of a traditional,
Western category of ‘art’ for the understanding of other cultures, many
anthropologists have abandoned the term altogether in favour of a focus
on material culture. Exceptions are anthropologists working at the
interface of Western and non-Western cultures, who ask how the
specifically Western conceptions of art are used in appropriating and
commodifying indigenous creations (Küchler 1988; Marcus and Myers
1995; Thomas 1991). Archaeologists generally follow suit. As a consequence,
art is left untheorised, except through a semiotic/representationalist
paradigm that limits what we can do, beyond trying often fruitlessly
and usually contentiously to interpret the content. If instead we
acknowledge that art is material culture with specific properties and
capacities, we can understand much more. Looking beyond the disciplin-
ary boundaries of archaeology and anthropology, we also recognise
important theoretical developments in fields such as art history and visual
culture studies. The movement towards regarding the art object as
influential through its presence and material qualities (Moxey 2008) is
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4. parallel to the material turn happening across the humanities and social
sciences more broadly, an art-theory cognate to ‘thing theory’ in literature
(Brown 2001) and approaches to materiality in anthropology (Miller
2005). Indeed, since these themes are already commonly explored in the
archaeological literature, we see great potential for studies of art to open
up a rich dialogue across disciplines.
Art as material culture
The shift in perspective described above is intertwined with broader
transformations in anthropological approaches to art. Some of the impact
of art certainly derives from its aesthetic properties; for example, in ritual,
emotional impacts may derive in part from the beauty or tactility of the
objects or aspects of performance, or from the virtuosity displayed by an
artisan (DeMarrais 2013). In most cultures, some objects are fashioned
with effort and skill to create a strong aesthetic impression (Coote 1992;
Morphy and Perkins 2006); the natural world similarly has aesthetic
qualities that inspire artists as well as viewers. At the same time,
anthropologists have traditionally and rightly been cautious about impos-
ing a high culture, aesthetic view of ‘art’ on non-Western peoples and,
indeed, on European works before the Renaissance. The category of ‘art’ is
often problematic, as ethnographers have repeatedly demonstrated (Gell
1998; Layton 1991; Myers 1991). As Appadurai (1986) pointed out over 25
years ago, an object’s significance is as dependent on its cultural context
and history as on its intrinsic properties. Indigenous ‘art’ often operated
within completely different frames from those which Westerners habi-
tually impose on things designated as art. An excellent example is
Küchler’s (1988) study of Malanggan statues, which were never intended
to last. Although Western collectors treat the statues as art, purchasing
them for display in museums, the statues were meant to decay, with the
making of the statue serving to cement and to secure the memory of the
deceased. Thus, the things archaeologists and anthropologists understand
as ‘art’ include images and objects produced for uses that range well
beyond what ‘art’ does in our own society. Further examples include
numerous medieval paintings framing ritual settings (as altarpieces for
example), the sculptures of Classical Antiquity that became objects of
veneration, and much prehistoric and non-Western rock art executed as
acts of participation with perhaps little concern for creating permanently
visible or lasting designs (Fowles and Arterberry 2013).
A further excellent example of the interpretive problem emerges from
Gell’s (1992, 1998) insights concerning the Trobriand Islanders’ canoe
prow-boards:
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5. . . . These boards are richly carved and painted, and they are the first thing
that the Trobrianders’ overseas exchange partners get to see when the
Trobriand flotilla arrives on their shores, before exchange operations get
under way. The purpose of these beautiful carvings is to demoralize the
opposition . . . Neither the Trobrianders nor their exchange partners operate
a category of ‘art’ as such; from their point of view the efficacy of these
boards stems from the powerful magical associations they have . . . (Gell
1998, 69)
As both Gell (1998) and Dissanayake (1995) have argued, from different
starting points, the visibility of the objects, their social effects, and their
distinctiveness (often indicated by the time and effort put into their
making) reveal that these objects were intended to have an impact.
In this collection of papers, in line with ongoing theoretical debate,
contributors emphasise not aesthetic qualities per se, but the material
realities of art (objects and images) in their social contexts. If art is seen as
(visual) material culture, we need to look past approaches to art as
meaning, as symbols and as representation (and beyond aesthetics) to
consider how art as material culture has direct and lasting influences
on human beings. Contributors explore how art mediates power relations,
establishes ideational realms, as well as influencing the routine encounters
and engagements of everyday life. Similarly, art as material culture has
political significance, expressed in varied ways, often tied to the acquisi-
tion and circulation of desired objects by the powerful (Helms 1992).
While art can be displayed or used in rituals to generate consensus
(DeMarrais 2011), contributors to this collection also explore cases in
which the shared act of making art may generate new social ties or
reinforce sentiments of solidarity (Fowles and Arterberry 2013). Art can
innovate, express cosmological themes, engage with a narrative, or re-
work elements of an existing cultural tradition. All of these effects are
elements of the way art facilitates social action and agency, rather than
remaining a passive object of viewership.
In understanding art as action, the question we ask is: What does an
(art) object do, and how? The interpretative movement involves recognis-
ing that what we call art is a form of material culture intended to have
specific social effects. To examine its material and design characteristics is
to begin to understand how it worked. In the following section, we
consider the implications of an approach to art as action.
Art as action
To the extent that art grows out of performance and participation, it
involves a sequence of gestures that may draw groups of people together.
In this way, art may constitute a group of participants, involve them in
making it or using it in ritual and other ways. These social activities will
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6. frame art for discussion or reaction as well as, in some cases, involve
viewing by an audience. These approaches to art are distinct from recent
conventions invoking a solitary artist producing work for the museum or
gallery wall.
In modern society, art allows people to ‘remake themselves and their
worlds, while commenting on their values and beliefs’ (from the World Art
website, http://www.tandfonline.com/action/aboutThisJournal?show=
aimsScopejournalCode=rwor20). Archaeologists, of course, rarely have
access to thought processes; however, the range and diversity of art from
past societies is, in our view, testament to the importance of this ongoing
‘commentary’ among human beings. The archaeological record contains
not only the objects and images (‘art’) of past societies, but also the
locations where they were made, displayed, or used. Further insights come
from art that decorated buildings, was erected as monuments, or made
visible in other settings in which fixed objects or images are found. The
scale, visibility, and accessibility of these objects and images are further
sources of information about their cultural significance.
In the rest of this essay, we present a range of examples to consider the
varied ways in which art makes society. We consider: (1) the ways art can
frame a setting; (2) art as participation; (3) art as representational models
for social relations; and (4) art as a medium for exclusion or resistance.
Art creates sites of activity
Art establishes settings for action, framing architectural or open air spaces
used for gatherings, public events, or collective action. Large-scale or
monumental installations, such as memorials, create sites for the re-
enactment of shared memories. Visual art can help to create a ritual
setting by setting it apart, distinguishing ritual space from quotidian
contexts; art may also help to set the scene through references to liturgical
narratives. At a more intimate scale, a framed reproduction of an
Impressionist painting in a doctor’s waiting room can establish an
unthreatening atmosphere of middle-of-the-road gentility to comfort
anxious patients.
In acts of monumentalisation, people deploy large-scale artworks to
create settings in which group memory is established and experienced.
Often, as is the case with war memorials, these settings involve rites of
commemoration (Figure 1). On other occasions, memories may actually be
created or invented through the art, as in the African Burial Ground
monument in New York City.
Large-scale art framing a ritual setting is visible in Figure 2, a rock art
panel from the American Southwest. These murals were widely distributed
and highly visible; this image of San Juan anthropomorphs was pecked into
an outcrop in Butler Wash (south-eastern Utah) during the Basketmaker II
World Art 7
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7. Period (AD 50500). It shows a central figure who is ‘life-size’ (about 5 feet
tall) flanked by additional figures wearing ritual adornments and head-
dresses. Rock art panels were often created at open-air sites, near locations
used for autumn gatherings for ‘. . . exchange of marriage partners, trading,
gaming . . . and political maneuvering among shamans’ (Robins and Hays-
Gilpin 2000, 234). Rock art was highly visible and public, created on alcove
walls, cliffs or on boulders near water sources. Reuse of some locations is
indicated by the crowding of images or superimposition, suggesting
ongoing modification (Charles and Cole 2006, 194).
‘Decorative’ rather than political or ritual art is far from unknown in
the ancient world, as in the famous frescoes and mosaics from Roman
Figure 1. Ypres, Belgium: memorial arch for British war dead of World War I. The
walls are covered with the names of the dead, in a form of textual art; note space
for ceremonial assembly within monument. Photo: J. Farr.
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8. Figure 2. Prehistoric rock art panel, Basketmaker II period, AD 50500, Butler
Wash, Utah. Photo: Robert Mark and Evelyn Billo of Rupestrian CyberServices.
Figure 3. Decorative frescos and mosaics in a bedroom from the Villa of
P. Fannius Synistor, Pompeii, Italy, first century AD. The Metropolitan Museum
of Art, Rogers Fund, 1903 (03.14.13a-g), photographed by Schecter Lee. Image:
# Metropolitan Museum of Art.
World Art 9
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9. Pompeii (Figure 3). While ancient people no doubt took aesthetic pleasure
in such settings, we cannot simply regard them as ‘art for art’s sake’ in
the modern sense; much as in the example of paintings in a doctor’s
waiting room, the choice of content, style and placement for such
imagery whether theological and mythological, naturalistic or erotic,
or geometrical may have helped create appropriate spaces for particular
activities or social relationships.
Art is participatory
Art often invites participation, creating a focus or medium for relational
action (Fowles and Arterberry 2013). Adornment of the body through use
Figure 4. Mask, Torres Strait, nineteenth century. The Metropolitan Museum of
Art, The Michael C. Rockefeller Memorial Collection, Purchase, Nelson A.
Rockefeller Gift, 1967 (1978.412.1510). Image: # Metropolitan Museum of Art.
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10. of masks, costumes, body paintings, or tattoos transforms the body
temporarily or permanently, while drawing attention. Figure 4 shows a
mask from the Torres Strait. Made from turtleshell, wood, feathers,
coconut fibre, resin, shell, and paint, this mask not only demonstrates the
skills with which ritual adornments were produced, but also reminds us of
the dramatic impressions they likely generated when worn. Masks are
quintessentially participatory art; they enrol people into temporary
assemblages of people and artifice, or create composite, living moments
of altered realities.
Beyond specific events, the wearing of badges, insignia, or regalia in
daily life also generates shared identities, marking out individuals as
members of groups. Figure 5 shows a pilgrim badge from England, worn to
display the pilgrim’s active participation in pilgrimage and his or her wider
affiliation with Christianity. Such forms of dress not only allowed people to
objectify and to categorise themselves; they also enmeshed others in
political relations such as colonialism (Loren 2013).
In addition, the making or using of art objects or images may involve
multiple participants, who forge bonds of solidarity through shared
activities. The making of the art may be as (or more) important as the
final product, seen for example in the collective endeavour of sewing a
handmade quilt. Handprints attesting presence and participation are
among the oldest motifs in human art, occurring in Palaeolithic painted
caves. Around the world, rock art often consists of repeated motifs,
surprisingly inconspicuous and sometimes ephemeral, which may result
from gestures that comprised parts of a performed narrative of some kind.
Figure 5. Pilgrim badge, England, fourteenth century. British Museum
1898,0720.1. Image: # The British Museum.
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11. In modern settings, graffiti can attest to a human wish to assert one’s
presence. Figure 6a shows a monument marking the location where
Garibaldi, hero of the Italian Risorgimento, was wounded in a minor
skirmish; Figure 6b shows graffiti applied by school children during a visit
to the site. The epigraphs, all along the lines of ‘Peppe loves Maria’, convey
anything but the patriotic sentiments that the monument is supposed to
evoke, but they do attest participation in the spirit of a school trip.
In archaeological settings, decorated pottery was often used to
distinguish feasts as special events. In northwest Argentina, libation
vessels decorated with modelled figures of animals are common in sites of
the Regional Developments Period (AD 9501430). Figure 7 shows a
libation bowl; adorned with a feline head at one end, the bowl has an
opening on the opposite side to facilitate drinking of its contents. More
generally, the sharing of food and drink in ritual settings helps to sustain
social ties; in the south Andes, the use of animal depictions probably also
referenced shamanic or cult activity.
Finally, some art objects require considerable expertise or skill to make
but are consumed or destroyed during their intended use. Malanggan
objects, mentioned above, are excellent examples since they are implicated
in forging memory. Other art objects whose appropriate use involves
destruction include Mexican piñatas, elaborately decorated wedding
cakes, ritually punctured Mimbres bowls of the American Southwest,
and ‘Celtic’ metalwork deposited as votives in rivers and bogs. As a further
Figure 6a. Garibaldi monument, Aspromonte, Calabria, Italy: monument. Photo:
J. Robb.
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12. archaeological example, the earliest clay figurines, made during the
Palaeolithic of Central Europe, may have been ‘action art’ intended to
explode dramatically when placed in a fire (Farbstein 2013).
Art creates representational models for social relations
Art frequently represents social relations. Over time, images are inter-
nalised as people absorb cues that guide behaviour and ensure conduct
Figure 6b. Garibaldi monument, Aspromonte, Calabria, Italy: school-child graffiti
on base of monument. Photo: J. Robb.
World Art 13
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13. appropriate to a given social setting. Bourdieu’s (1977) insightful analysis
of habitus made clear that children and others learn by doing (and by
observing others), rather than through direct instruction. Since art objects
are often lasting, durable, and visible, they reinforce a vision of ‘the way
things are’ that may be difficult to contest. This dynamic encompasses
varied aspects of identity and social conduct as prescribed by gender, age,
social position, or ritual status. Many images are ideologically loaded, such
as the Greek red-figure drinking cup in Figure 8, which inculcates the
privileged position of males, depicted here sharing drink in the ritualised
male-only setting of a symposium.
Even more common is the commissioning of richly detailed and
aesthetically pleasing art objects, made from rare materials by skilled
Figure 7. Prehispanic libation bowl with feline head, Regional Developments
Period, AD 9501430, northern Calchaquı́ Valley, Argentina. Photo: E. DeMarrais.
Figure 8. Greek red-figure cup with scene of male bonding in ritualised drinking
at symposium, Vulci, Italy. British Museum 1836,0224.212. Image: # The British
Museum.
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14. artisans, to legitimate the privileged position of elites. Veblen’s (1899)
insightful comments about conspicuous consumption resonate particu-
larly well with the crafts produced for elites in many archaic states,
including those of coastal Peru before the Incas. Figure 9 shows an image
in silver of a ruler seated on a throne, its iconographic theme of hierarchy
meshing seamlessly with the use of privileged materials such as rare
metals and the virtuosic skill of Chimu artisans.
Art is also almost always concerned with the wider social group,
promoting ideas about the nature of the collectivity through representa-
tion (temporary or lasting) or by inviting participation in an event (a rite, a
moment of creative activity, or a shared experience of viewing and
Figure 9. Silver ‘throne vessel’ depicting hierarchical group, fifteenth century,
Chimu, Peru. The Metropolitan Museum of Art, The Michael C. Rockefeller
Memorial Collection, Gift of Nelson A. Rockefeller, 1969 (1978.412.170). Image:
# Metropolitan Museum of Art.
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15. appreciating) (DeMarrais 2011). Figure 10 shows La Venta Offering 4 from
pre-Hispanic lowland Mexico, shown here during its excavation, rightly
famous for its revealing insight into Olmec social relations and ritual. Like
many other works of art from around the world, it represents a moment
when people are assembled to create a group, highlighting an idealised
collectivity as a model for social participation. Spielmann (2013) devotes
considerable attention to this potential role for art, as part of ritual, in
generating cohesion among Hopewell villages and for bolstering the claims
of ritual specialists.
Art as cultural capital
Art also represents cultural capital concentrated, privileged access to
items of value. In this sense, art can be a vocabulary for the shared habitus
of members of the same social class, a tangible yet dynamic means for
relating or dividing groups. This may often be simply through shared
styles or ways of doing things. Farbstein (2013), for example, shows how
small prehistoric communities creatively formulated different artistic
representations as part of creating local networks of shared identity.
In class-stratified societies or power-laden colonial relations, art has
the capacity to unite, divide, or position people (Bourdieu 1984), since not
all people are equally able to decode or to appreciate art and since art may
be used to encode values privileging dominant groups. Herring (2013)
eloquently traces the ways that Andean art has been appropriated, and
misunderstood, in the unfolding discourses of Western Modernist art
Figure 10. La Venta Offering 4, Mexico, showing a leader conducting a group
ritual, Olmec, Formative Period. Photo: John Clark and Pierre Agrinier.
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16. history. Architectural styles provide a particularly prominent way of
asserting cultural capital; in recent European and American history, for
example, there have been two architectures of power: the Classical and the
Gothic. Both were deliberately revived and reworked to be widely used in
public buildings of the eighteenth and nineteenth centuries (Figure 11),
asserting institutional legitimacy by evoking the imagined splendours of a
Classical or medieval past.
Maya art is similarly well-known for evoking a world of privilege and
power surrounding elites and their entourages. Evidence increasingly
suggests that Maya elites were in some cases also the artisans. Inomata
argues that craft production by elites during the Classic Period ‘. . . was at
once a highly political act closely tied to power and an expression of elites
ascribing to cultural and aesthetic values’ (2007, 137). He suggests that the
willingness of high-status individuals to engage in demanding craft produc-
tion work is evidence of their commitment to cultural ideals. Figure 12 shows
a relief panel depicting a ruler in full regalia. Both the personae represented
and the creation, control and use of such objects tied high status people to a
world of symbolic capital. Virtually all ancient civilisations, from the
Egyptians through the Incas, engaged in a similar materialisation of the
cultural capital of their rulers in large-scale or finely-worked art.
Figure 11. Senate House, University of Cambridge (1730): as on many university
campuses the Classical columns and façade proclaim the university’s role as heir
of ancient Greek civilisation, as well as partaking in a more general architectural
aesthetic of power. Photo: J. Robb.
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17. Art as a medium of exclusion, resistance, or layered meanings
Art does not simply present and reinforce dominant ideologies or assert
social models; it may contain hidden, layered, or contested messages or
meanings. Likewise, the knowledge asserted in (or by) an artwork may be
contested. For example, Brumfiel (1996) provides a compelling case that
healthy-looking, standing female figurines, produced by local communities
in the Aztec hinterland, were intentional forms of alternative art, produced
in response to negative depictions of women (often shown dismembered or
kneeling in submission) promulgated as part of the Aztec imperial ideology.
Arts of protest and resistance are two manifestations of this phenom-
enon. Both may be expressed through unsanctioned, counter-authoritar-
ian genres. The graffiti example above seems innocent of political critique,
but graffiti and defacement often express political sentiments. The spray
can may be an ubiquitous tool for contemporary dissent, and sometimes
this contestation of meaning is intentionally foregrounded in art. In a
recent article on the BBC website, the artist Antony Gormley described his
experience of erecting an early sculpture of a life-size human figure in
Figure 12. Classic Maya relief with enthroned ruler. The Metropolitan Museum of
Art, The Michael C. Rockefeller Memorial Collection, Bequest of Nelson A.
Rockefeller, 1979 (1979.206.1047). Image: # Metropolitan Museum of Art.
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18. Londonderry, Northern Ireland in 1987, during the Troubles, a time of
often violent political conflict (McCann 2011). Intending his work to be ‘a
poultice, and a benign piece that related to the feelings of the people in
that place and their situation’, he remembers the vigorous attack on the
work as it was being placed in the ground. ‘They were throwing stones and
sticks and then spitting on the sculpture. The sculpture came over the top
dripping with saliva, the missiles kept coming.’ The work was eventually
doused in petrol and set alight. Gormley continues, ‘This was excellent.
This was the work as poultice throwing violence and evil onto itself that
would otherwise be experienced in other ways.’
Moreover, art allows ambiguity, or layers of interpretation, that
facilitate multiple understandings, as explored in Robinson’s article
(2013) on the significance of graffiti in Barcelona. Ambiguous or multi-
layered imagery is common in the European medieval period, for instance,
where images may express visual puns. An artist might playfully portray
himself (or others) in mythological or Biblical scenes in a manner
undetectable to those unfamiliar with his visage, giving the work both
public and personal significance. Medieval manuscript illuminations and
woodcarvings often show obscene or grotesque imagery in the margins of
sacred texts or settings. For instance, underneath a carved church seat
from King’s Lynn, England, lurk two grylluses (Figure 13), imaginary
creatures thought to embody humans’ baser instincts, a suggestion
underlined by their ambiguously phallic noses and by their intended
proximity to churchgoers’ backsides. Is this the illustration of an obscure
theological text? Satire? Permissible playfulness? The answer may have
been as ambiguous to medieval people as it remains to us.
Figure 13. Hidden misericord imagery on the bottom of a carved wooden church
seat, King’s Lynn, England, fourteenth century. Victoria and Albert Museum W.7-
1921. Image: # Victoria and Albert Museum.
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19. Conclusions
We have argued, through examples from past and present, that art is
deeply embedded in everyday life as well as integral to special occasions of
ritual, political or biographical importance. As one would expect from a
profoundly varied phenomenon, no single explanation can encompass the
diverse ways that art establishes, sustains, or transforms social relations.
Through its making, using, and display, art helps people share underlying
understandings of the world, allows individuals and groups to create and
express values, to assert social capital, and finally art creates venues
and media for the performance of identities and social relations. In the
collected articles of this issue, contributors illustrate these varied
perspectives; the case studies range across world archaeology from
Palaeolithic to historic periods.
Acknowledgements
We are grateful to John Clark and Pierre Agrinier for permission to use
Figure 10, to Johanna Farr for the use of Figure 1, and to Robert Mark and
Evelyn Billo of Rupestrian CyberServices for use of Figure 2. We thank The
British Museum, The Metropolitan Museum of Art and The Victoria and
Albert Museum for use of varied images as noted in the captions, and the
two anonymous reviewers for their thoughtful comments. We thank
George Lau and Veronica Sekules for their editorial oversight and helpful
comments.
Notes on contributors
Elizabeth DeMarrais and John Robb teach archaeology in the Division of
Archaeology, University of Cambridge. Working in the Americas and Europe,
respectively, they share broad interests in art, material culture, theory and social
relations in the past. Two years ago, they established a Material Culture
Laboratory to provide a setting for students and researchers interested in theory
and material culture to meet and to exchange ideas in an interdisciplinary setting.
The current collection of papers was initially presented as part of a symposium
entitled ‘Art Makes Society’, organised for the Society for American Archaeology
meeting in April 2012, in Memphis, TN, USA.
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