Mind the gap: Encountering contemporary art through play

Knowing how to approach and experience contemporary art is a challenge to many people outside the art world. Emerging contemporary art, as the newest of this genre, is often the most challenging. This article recounts my own early struggles as a researcher in this field, and proposes a way of understanding the interaction between artist, artwork and perceiver based on my observations of how contemporary artists encounter each others' work. I argue that contemporary art, and especially emerging contemporary art, creates a space to play by creating an intentional gap in the physical form and/or the semantic structure of the artwork. The object of play is the co‐investigation of an idea initiated by the artist, facilitated by the form of the work and furthered by the encounter. Play, it is argued, is essential to emerging contemporary art as an activity, a communicative frame and a disposition. I draw from earlier theoretical connections between art, play and liberation, challenging some of these assertions, and bringing others into relevance in the contemporary context.     

Contemporary art and the ethics of anatomy

The ethics of anatomy bears on the ways in which we present and behold human bodies and human remains, as well as on the duties we have with regard to the persons whose bodies or body parts are presented. Anatomy is also a mode of thought and of social organization. Following Merleau-Ponty's assertion that the human body belongs both to the particular and to the metaphysical, I contend that art's ways of rendering of the particular in human anatomy often bring into relief metaphysical and ethical insights relevant to clinical medicine. This paper discusses the art of Gideon Gechtman, Mary Ellen Mark, Shari Zolla, and Christine Borland. It considers the relationship of these artists to earlier artistic traditions and the implications of their work for contemporary medicine and the biopsychosocial paradigm. Andrew Wyeth, the Visible Male Project, the Isenheim Altarpiece by GrA(1/4)newald, and an anonymous Dutch Baroque portrait are also discussed.     

The Art of Indigeneity: Aesthetics and Competition in Mexican Economies of Culture

On the basis of ethnographic research with woodcarvers in Oaxaca, Mexico, this paper investigates the role that aesthetic practices play in economic competition in cultural markets. I explain how one family has become the most successful artisans in their village by aesthetically referencing the indigenous art that is highly sought after by the North American ethnic art market. By reformulating Bourdieu's analysis of artistic fields, I argue that aesthetic competition should be theorised at the level of genres, which allow insight into how individual aesthetic innovations may transform the fields in which art is produced and circulated. I show that by referencing indigeneity, this successful family not only accesses a new market but also renders their work more authoritative than the carvings of their neighbours, which aesthetically reference Mexican ‘artesanías’ (craftwork). In so doing, they not only earn more money but also change the ways that Oaxacan woodcarvings are valued in general.     

Style and Meaning in Laura Art: A case Study in the Formal Analysis of Style in Prehistoric Art

The objective identification of animals depicted in the rock art of the Laura region frequently presents problems. An analysis of the combinations of zoologically diagnostic traits represented and of trends in body outline reveals that animal figures were drawn as fairly conventionalized schema. By analogy with contemporary Aboriginal art systems it is unlikely that the artists intended to paint generalized animal images, and it is suggested that other, possibly non-visual information may have been encoded in the Laura rock art system which enabled Aboriginal people to identify the paintings. A preliminary analysis of the distribution of paintings in some shelter groups of Laura art suggest that the identity of the shelter is likely to have been one of the factors involved in determining the species represented. This suggestion gains some support from the paintings of introduced animals, for which now and diagnostic artistic conventions were devised. The apparently greater need for explicit rendition of introduced species might be explained by the fact that traditional modes for image recognition could not be applied to these newcomers.     

Picking at the Paint: Viewing Contemporary Bushman Art as Art

In most writing on contemporary Bushman art the art is discussed as a tool of development, a tourism endeavor and an income generator. While these are aims both legitimate and beneficial to the communities involved, they also work (implicitly yet effectively) to separate the art, artist and subsequently the community out of which the art is produced from “the rest of us,” defining these communities as “other.” This article attempts to engage with contemporary Bushman art as art objects. Using criteria of judgment based on a functional semiotics of art, two works will be analyzed to prove that the works may be discussed as Art. The premise is that once people recognize the aesthetic intelligence imbued in these artworks they will be able to engage with the work in a way that is similarly intelligent and contemporary. The art and its people will then stand a better chance of being accepted into the realm of the everyday as opposed to being relegated to the sarcophagi of history. Once taken from this starting position, goals of community development and tourism endeavors linked to indigenous art can become that much more beneficial and life-changing for the communities concerned.     

Science and society: art and science collaborations in the United Kingdom

In this Perspective article, I consider ways in which the contemporary arts and sciences can interact with each other, and I outline the current opportunities for funding in the United Kingdom. I examine the view that, in an art-science collaboration, it is the artist who benefits most, and I cautiously suggest that this is an oversimplification. Evidence from interviews with scientists who have been involved in these collaborations shows that artistic experience and skills are of value in the scientific research process.     

A Novel Approach to Tradition: Torres Strait Islanders and Ion Idriess

This paper considers the significance of the novel Drums of Mer (1941) in contemporary Torres Strait Islanders' lives. Its use as narrative by many Islanders today constitutes one means by which men especially have come to know themselves, white others, and their past. In particular, I explore the ways in which this story appeals to and is appealed to by Yam Island people. Contrary to literary deconstructions of Idriess's representations of Aboriginal and Torres Strait Islander people, my paper argues that in seriously attending to Torres Strait readings of Drums of Mer we can see that for contemporary Islander readers, it is not themselves who are other but rather the white protagonists. I employ Said's (1994) notion of ‘cultural overlap’ and de Certeau's (1988) understandings of reading and writing as ‘everyday practices’ to frame my analysis of the differing impacts of the historical novel, Drums of Mer, and the Reports of the Cambridge Anthropological Expedition to Torres Straits. It is through story telling that Yam Island selves are placed in the past and the present, and in Idriess's memorable story a similar effect is achieved. In his novel approach, the past becomes his-story, a romanticised refraction of the Reports. Unlike the Reports, this novel is a sensual rendering of a Torres Strait past, and at this level it operates as a mnemonic device for Yam Island people, triggering memories and the imagination through the senses. This Torres Strait Islander detour by way of a past via a story, can be understood as a means by which Yam Island people continue to actively produce powerful images of themselves, for both themselves and for others.     

THE JOHN BRADBY BLAKE DRAWINGS IN THE NATURAL HISTORY MUSEUM,LONDON: JOSEPH BANKS PUTS THEM TO WORK

In the last quarter of the 18th century, Joseph Banks came into possession of a set of botanically accurate, western‐influenced, drawings of Chinese plants, executed in Canton by a Chinese artist and supervised by John Bradby Blake, an East India Company supercargo. Banks realized that these drawings, now in the Natural History Museum, London, would help his collectors in Canton accurately identify the Chinese species he sought as living plants for the Royal Gardens at Kew. Banks commissioned a collector's manual whose illustrations were based on the Blake drawings. In the early 19th century, William Kerr used this manual (now unfortunately lost) to continue the Blake practice – these drawings are at the Royal Botanic Gardens, Kew. John Reeves, many of whose drawings are at the Royal Horticultural Society, used Kerr's commissions to produce the next generation of botanical art in Canton.     

Anthropological films and the myth of scientific truths

This article describes, analyzes, and interprets various cultural influences on the representational drawings of young Navajo students, in order to understand their changing cultural viewpoint. The data and drawings were gathered from two elementary art classes in one Navajo public school in northeastern Arizona, as part of an ongoing study. This information is compared to anthropological data gathered on adult Navajo drawings nearly 30 years ago, as well as to some dominant theories on child art. Data reveal students are influenced by Navajo traditional images, classroom teachers’ versions of school art, popular art images, pan‐Indian influences, and peer copying. Results reveal the persistence of traditional nature imagery, the incorporation of similar schemas and color use with mainstream children, a keen ability to render realistic images and space, and the incorporation of those American things that the Navajo regard as “good for them.” Keen drawing abilities appear at a young age among the Navajo because of the high status of the arts, traditional education through observation and demonstration, peer imitation, and male drawing competition.     

Portraiture and Proximity: ‘Official’ Artists and the State-ization of the Market in Post-Soviet Kazakhstan

This article traces the production and circulation of state officials' portraits in post-Soviet Kazakhstan, as visual artists engaged in the cultivation of an art market after the dismantling of socialist-era state sponsorship. I argue that these portraits of the president and other high-ranking officials should be considered as an instance of commercialisation of art. Portraiture invoked proximity of artists to their powerful sitters, government officials, and consequently made artists' work more attractive to a particular kind of domestic buyer. Furthermore, I argue that these practices of commodification enable an understanding of how socialist-era legacies of state sponsorship have converted into the logics of proximity to power. The Soviet-era personalistic connections to bureaucrats have transformed into the means for representation of artwork's market value in contemporary Kazakhstan. As such, Soviet legacies of clientelism have rendered state icons as significant authenticators of commercial value and therefore central to the emerging market.     

High art as tourist art,tourist art as high art: Comparing the New Guinea Sculpture Garden at Stanford University and Sepik River tourist art

This paper compares two contemporary aesthetic expressions: tourist art from the Sepik River in Papua New Guinea and the New Guinea Sculpture Garden at Stanford University. Both aesthetic expressions undermine the conventional categories that classify art. Sepik River tourist art is motivated not by the drive to lend individual, subjective experience a material expression but by monetary desire. The New Guinea Sculpture Garden was expressly created so that Sepik artisans could expand beyond the confines of village traditions and create unfettered aesthetic expressions. But seemingly inauthentic Tourist Art actually represents many of the ideals normally ascribed to Western masterpieces, or High Art. Conversely, the High Art of the Sculpture Garden in many respects resembles inauthentic reproductions and the tenacity of traditional forms. Both tourist art and the sculpture Garden, however, have one key quality in common: they rupture conventional artistic cattegories.     

The pleasures of ambiguity: pedagogy and musical apprenticeship in an Istanbul art studio

‘Dealing with ambiguity’ has become a pressing concern in many spheres of contemporary life, often presented as a ‘survival skill’ in an uncertain world. Working with ambiguity also plays a crucial role in the musical pedagogy of the Ottoman-Turkish ney (Sufi reed flute), the playing of which I discuss in this article. Rather than a constraint or deficiency to be resolved, in the context of ney apprenticeship, ambiguity emerges as a desired pedagogical force not only valued but also deliberately amplified. My aim is to show how ambiguity is embraced here as a productive condition that maximizes possibilities for artistic exploration, freedom of discernment, and aesthetic pleasures.     

First epigravettian ceramic figurines from europe (vela spila, croatia)

Recent finds of 36 ceramic artifacts from the archaeological site of Vela Spila, Croatia, offer the first evidence of ceramic figurative art in late Upper Palaeolithic Europe, c. 17,500-15,000 years before present (BP). The size and diversity of this artistic ceramic assemblage indicate the emergence of a social tradition, rather than more ephemeral experimentation with a new material. Vela Spila ceramics offer compelling technological and stylistic comparisons with the only other evidence of a developed Palaeolithic ceramic tradition found at the sites of Pavlov I and Dolní Věstonice I, in the Czech Republic, c. 31,000-27,000 cal BP. Because of the 10,000-year gap between the two assemblages, the Vela Spila ceramics are interpreted as evidence of an independent invention of this technology. Consequently, these artifacts provide evidence of a new social context in which ceramics developed and were used to make art in the Upper Palaeolithic.     

Picasso and the art of distortion and dislocation: the artist as researcher and experimentalist

This paper is divided into four parts. In the first part, some general ideas about Picasso are set forth including: his association with multiple artistic innovations; his use of many different media; his notions of beauty and the relationship between art and nature; his ideas about the placement of body parts, symmetry, and color; and his relish in producing paintings with shock value. Emphasis is placed on the relationship between art and science and on Picasso's role as a researcher and experimentalist. In the second part, works of art during the cubist and postcubist years are discussed with emphasis on the development of simultaneity--the coexistence of different views of an object in the same picture. Topics included are: facial grafting; facial accommodation; multifacialism; profile insertion; snout formation, elevation, and rotation; concurrent faces; and more comprehensive simultaneity. In the third part, other influences on Picasso are presented including: the effects of action, motion, and activity; Surrealism and sexual symbolism; and Picasso's artistic treatment of women. In the fourth part, a comparison is made between Picasso's experiments and nature's experiments.     

Who was ... Anna Atkins?

In a previous age of scientific investigation, before images and information were ever captured electronically, the hands and eyes of artists were trained to make botanical and zoological drawings to illustrate the latest advances in human knowledge. The principles of artistic composition and colour were incorporated in their scientifically accurate drawings. These delicate watercolours and fine pen and ink drawings are now much prized for their qualities of beauty and intricate detail and can be found adorning many a drawing-room wall.     

Visual aspects of perception of multimedia messages on the web through the "eye tracker" method

Since the dawn of civilisation visual communication played a role in everyday life. In the early times there were simply shaped drawings of animals, pictograms explaining hunting tactics or strategies of attacking the enemies. Through evolution visual expression becomes an important component of communication process on several levels, from the existential and economic level to the artistic level. However, there was always a question of the level of user reception of such visual information in the medium transmitting the information. Does physical positioning of information in the medium contribute to the efficiency of the message? Do the same rules of content positioning apply for traditional (offline) and online media (Internet)? Rapid development of information technology and Internet in almost all segments of contemporary life calls for defining the rules of designing and positioning multimedia online contents on web sites. Recent research indicates beyond doubt that the physical positioning of an online content on a web site significantly determines the quality of user's perception of such content. By employing the "Eye tracking" method it is possible to objectively analyse the level of user perception of a multimedia content on a web site. What is the first thing observed by the user after opening the web site and how does he/she visually search the online content? By which methods can this be investigated subjectively and objectively? How can the survey results be used to improve the creation of web sites and to optimise the positioning of relevant contents on the site? The answers to these questions will significantly improve the presentation of multimedia interactive contents on the Web.     

Art and the Middle-to-Upper Paleolithic transition in Europe: comments on the archaeological arguments for an early Upper Paleolithic antiquity of the Grotte Chauvet art

The spectacular art of the Grotte Chauvet stands out among all other examples of Aurignacian art, which are restricted to a handful of sites in other regions of western and Central Europe, which take the form of sophisticated carvings on organic materials and of simple engravings on rockshelter walls. Given its sophistication, Chauvet has understandably come to feature prominently in debates as to the nature of human symbolic origins, the behavioral capacities of Homo sapiens, the nature of the dispersal of modern humans across Europe, and the possibly contemporary extinction of Homo neanderthalensis. Significant objections to such an antiquity have, however, been made in recent years on the grounds of the style, themes, and technical practice of the art itself, and on the grounds of the AMS radiocarbon dating program that was first seen to suggest an early Upper Paleolithic age. To date, no attention has been paid to claims for an Aurignacian age on specifically archaeological grounds. Here, I undertake a critical examination of the archaeology of the cave and its wider region, as well as attempts to verify the antiquity of the art on the basis of comparison with well-dated Aurignacian art elsewhere. I conclude that none of the archaeological arguments withstand scrutiny and that many can be rejected as they are either incorrect or tautologous. By contrast, hypotheses that the art is of Gravettian-Magdalenian age have not been successfully eliminated. The age of the art of the Grotte Chauvet should be seen as a scientific problem, not an established fact. While it may prove impossible to prove an Aurignacian age for some of the Chauvet art I suggest a set of expectations that would, in combination, strengthen the robusticity of the ‘long chronology’ argument. The onus is upon Chauvet long chronologists to do this, and until they do, we must conclude that the art of the Grotte Chauvet is not dated, and very possibly much younger than claimed.     

The Articulation of Indigenous and Exogenous Orders in Highland New Guinea and Beyond

One of the leading challenges for contemporary anthropology is to try to contribute to an understanding of the interaction between indigenous and exogenous socio‐cultural orders, especially at the frontiers of globalisation. Here I review three recent attempts to do so: (1) a model of structural transformation as developed by Marshall Sahlins; (2) a model of articulation as developed by James Clifford; (3) a model of ‘adoption’ proposed by Joel Robbins. As a test case for these models, I consider them in relation to some recent developments in local segmentary politics and verbal art in the Ku Waru region of Highland New Guinea. I show that all three models are in certain respects inadequate for understanding those developments, and offer some proposals as to what kinds of theory might be more adequate to the task.     

The Production of Tradition and Culture in the Japanese Wedding Enterprise

In this article I examine the production of culture in the contemporary commercial Japanese wedding. This is analyzed in relation to the theoretical discourse of ‘the invention of tradition’. However, while this ‘invention’ is usually related to political motivations, I discuss the invention of tradition and of culture for economic motivations. I offer a broader perspective of tradition and culture and show how flexible these two may be as they are manufactured, played with or imagined. The contemporary wedding consists of both ‘traditional-Japanese’ and ‘Western’ inventions. These are regarded here as cultural constructs which both play a significant role in the construction of contemporary Japanese cultural identity.