Art/Artefact/Commodity: Installation design and the exhibition of Oceanic things at two New York museums in the 1940s

This article documents some of the experimentation in museum installation designs for the exhibition of non‐Western objects during the 1930s and 1940s. This is a period in which ethnographic artefacts were being displayed as artworks in natural history museums and in which the exhibition of such objects in art museums drew on techniques characteristic of not only natural history museums, but also commercial urban window displays (which were themselves enjoying a period of dazzling exuberance). The article focuses on one collection of Pacific Islands objects now housed at the Buffalo Museum of Science and on the installation designs of René d’Harnoncourt and Trevor Thomas. It responds to the provocation of Alfred Gell’s influential writings on art and agency, specifically, his conception of art as entrapment and enchantment—his claim that artworks captivate, and thus exert a kind of (secondary) agency on people (patients).     

The Representation of African Pastoralists: A Commentary

The Seattle Art Museum has been fortunate to have received major collections of African, Asian, and Northwest Coast Native American art, which now make up the bulk of its permanent collection. The display of this “other” art poses problems for curators who wish to eschew what they term an anthropological presentation yet provide context for the viewer. For the recent exhibition of “Art from Africa: Long Steps Never Broke a Back,” the museum invited several artists, performers and scholars, all of whom were members of the cultures whose art was on display, to add their curatorial voices to the presentation. The central premise was to create an immersion experience of African art for the visitor, as defined by indigenous voices. Those voices came through an audio tour compiled from interview tapes with no added narration, and lengthy interviews on computer monitors. Some objects could be recognized through performance videos played as wall-sized projections. None of the artworks was identified by individual labels. During the exhibition, visitors were asked to complete comment questionnaires. Although many had positive things to say about the image of Africa gained through the exhibition, others expressed dismay at what they saw as negative stereotypes. The severest criticism came from Africans who had not been part of the advisory team. This article analyzes the responses, and questions the way in which one's personal image of Africa, whether one is curator or visitor, acts as mediator of experiences gained from an exhibition.     

Biosemiotics in a Gallery

In this article we review the biosemiotic art exhibition ?Signs of life? (Livstegn), that was organized by the Danish installation artist Morten Skriver and the biosemiotician Jesper Hoffmeyer in 2011 at the Esbjerg Art Museum (Denmark). The exhibition presented five central (bio)semiotic concepts using artistic tools: the semiosphere, the sign, semiotic scaffolding, semiotic freedom, and surfaces.     

Art and Agency: A Reassessment

In his book, Art and agency , Alfred Gell presents a theory of art based neither on aesthetics nor on visual communication. Art is defined by the distinctive function it performs in advancing social relationships through 'the abduction of agency'. Art objects are indexes of the artist's or model's agency. This article examines Gell's use of agency, particularly in relation to the ritual art that is central to his argument. Focusing on Gell's employment of Peirce's term 'index' (out of his triad of index, icon, and symbol), I note that Peirce's approach deflects attention from signification towards the link between art works and the things to which they refer. I consider what Peirce meant by abduction, and conclude that while Gell makes a good case for the agency of art objects he does not explain the distinctive ways in which art objects extend their maker's or user's agency. Gell lacked the time to make detailed revisions before publication and I acknowledge that, given more time, he might have revised some parts of the book.     

The Death and Rebirth of Anthropology

This paper is a study of one component of the recent and contemporary circulation of cultural objects, the exhibition of Australian Aboriginal acrylic paintings in a French museum. The author argues that the recent emphases on ‘appropriation ‘ and the primitivizing gaze ‘ are not sufficient to understand what happens when such objects circulate. To ask what does happen in circulation, at the sites of exhibition, is to ask how they are produced, inflected, and invoked in concrete institutional settings, which have distinctive histories, purposes, and structures of their own. The gazes’ (representations) which are discussed in this French example are analyzed within the specific conditions of their production to show how such exhibitions and circulations of culture are produced in relationship to the requirements internal to museums to distinguish themselves from others, to respond to claims placed upon them by their own institutional settings.     

Ancient North American Art Surfaces in the Art World: A Review of Hero, Hawk, and Open Hand

Hero, Hawk, and Open Hand rated as a must-see for anyone with an interest in art of the ancient Americas or ancient art in general—an exhibition whose breadth and depth in terms of visual material would be difficult, if not impossible, to replicate. This review takes a look beyond the immediate frame of the exhibition at some additional context related to the appreciation of these objects as ancient art, including some reflection on the original objectives of the exhibition and what appeared, at least to this anthropologist, as palpably missing or unspoken.     

Regulation of Rho-GEF Rgf3 by the arrestin Art1 in fission yeast cytokinesis

Rho GTPases, activated by guanine nucleotide exchange factors (GEFs), are essential regulators of polarized cell growth, cytokinesis, and many other cellular processes. However, the regulation of Rho-GEFs themselves is not well understood. Rgf3 is an essential GEF for Rho1 GTPase in fission yeast. We show that Rgf3 protein levels and localization are regulated by arrestin-related protein Art1. art1∆ cells lyse during cell separation with a thinner and defective septum. As does Rgf3, Art1 concentrates to the contractile ring starting at early anaphase and spreads to the septum during and after ring constriction. Art1 localization depends on its C-terminus, and Art1 is important for maintaining Rgf3 protein levels. Biochemical experiments reveal that the Rgf3 C-terminus binds to Art1. Using an Rgf3 conditional mutant and mislocalization experiments, we found that Art1 and Rgf3 are interdependent for localization to the division site. As expected, active Rho1 levels at the division site are reduced in art1∆ and rgf3 mutant cells. Taken together, these data reveal that the arrestin family protein Art1 regulates the protein levels and localization of the Rho-GEF Rgf3, which in turn modulates active Rho1 levels during fission yeast cytokinesis.     

The Curatorial Voice: U.S. Institutions Exhibit the Ancient Andes

Two new exhibits on ancient Andean civilizations are open in the United States. Machu Picchu: Unveiling the Mystery of the Incas is a large traveling exhibition and Tiwanaku: Ancestors of the Inca is a smaller temporary exhibition that is not traveling. Both introduce North American audiences to objects and information that have never been exhibited in the United States and each includes some extraordinary artifacts. The two exhibits differ in many ways: Machu Picchu emphasizes information, archaeological science, and cultural history, whereas Tiwanaku focuses on art style and objects. The curatorial voice and point of view are strong in each exhibit, as is the institutional perspective of its originiating museum. In this respect these exhibits differ significantly from contemporary ones on ancient North America, which generally include the voices and points of view of descendant communities and others.     

An interview with Olivia Gude about connecting school and community arts practice

ABSTRACT

Olivia Gude has a long and distinguished career as both a public artist and an art educator. She is currently the Angela Gregory Paterakis Professor and Chair of Art Education at the School of the Art Institute of Chicago (SAIC), where she works with graduate and undergraduate students to prepare for working as artist educators in school and community settings. Her scholarly work includes a number of articles and book chapters about art education and community art. Prof. Gude has worked as a community public artist for many years and has created over 30 large-scale mural and mosaic projects, working with intergenerational groups, teens, elders, and children. I interviewed Prof. Gude at the SAIC building in downtown Chicago to discuss how her school, university, and community art engagement as well as her work with the National Coalition for Core Arts Standards, might offer suggestions for transforming arts education for the twenty-first century and provide authentic connections between school and community. Prof. Gude discusses important enduring understandings and big ideas from the new Visual Arts National Core Arts Standards, the Spiral Workshop youth art and research project she created while at University of Illinois at Chicago, and how her experience as a community artist informs her work with students in classroom settings.     

Continuity and Creativity in Iroquois Beadwork

This review essay of Across Borders: Beadwork in Iroquois Life focuses on the display of beadwork as a cultural practice that has evolved significantly throughout its history while remaining central to Iroquois identity. The exhibition draws on historical documentation, objects, and imagery that depict the varied uses of beadwork as ritual objects, sources of income, markers of identity, and as works of art. The content and narrative for the display was developed through a broad collaboration between curators, scholars, artists, and members of two Iroquois communities. The changing and continued importance of beadwork is reflected in the adaptation of materials and styles for different forms of production and use. Across Borders places Iroquois beadwork in a broad context while concentrating on specific forms and meanings that are attached to beadwork, whether created in community gatherings or by individual artists.     

Art and human embryonic stem cells: From the bench to the high street

ESTOOLS, a project funded by the European Commission (FP6), gathers expertise on human embryonic stem cells in 10 countries of the European Research Area. The ESTOOLS outreach program uses Art extensively as the only universal cross-cultural and cross-religion means of communication. The Smile of a Stem Cell photo exhibition, a major component of this program, aims to fill a missing link between public dissemination of science and science-illiterate citizens. Scientists are also engaged to stand at a distance from their work and observe it with an outsider’s perspective, which enhances their competency to communicate science. The photo exhibition, by its situation upstream of scientific education, makes itself open to interest and enthusiasm among a public with no prerequired scientific knowledge or abilities.     

Consuming the nation: Holidays,sports, and the production of collective belonging

The purpose of this article is to explain how Romanian and Hungarian university students in the ethnically mixed town of Cluj, Romania, experience and constitute collective national belonging at national holiday commemorations and international football competitions. Holidays and sports are important venues for the propagation of national, and sometimes nationalist, sensitivities. But neither the resurgence of nationalist politics in post-communist east Europe nor the nationalist inclinations of past generations of university students guarantee that the current generation will experience them – or themselves – in the same national terms. While much has been written about the production of holiday and sporting events, less has been said about the creative ways in which their audiences consume them. My aim in this study is to shift attention to the university students themselves and the modalities through which they constitute (and subvert) national cohesion through participation in (and avoidance of) holiday and sporting events.     

Proper Studies and the Art of the Soluble

The Art of the Soluble
'No scientist is admired for failing in the attempt to solve problems that lie beyond his competence.
If politics is the art of the possible, research is surely the art of the soluble . Both are immensely practical-minded affairs.
Good scientists study the most important problems they think they can solve. It is, after all, their professional business to solve problems, not merely to grapple with them.
That is why some of the most important biological problems have not yet appeared on the agenda of practical research.'
Proper Studies
'Atoms are immeasurably less complicated than man. And yet nobody who is not professionally a physicist would venture to discuss the nature of atoms. Where man is concerned. the case is different.'     

Observation and visualization: reflections on the relationship between science, visual arts, and the evolution of the scientific image

The connections between biological sciences, art and printed images are of great interest to the author. She reflects on the historical relevance of visual representations for science. She argues that the connection between art and science seems to have diminished during the twentieth century. However, this connection is currently growing stronger again through digital media and new imaging methods. Scientific illustrations have fuelled art, while visual modeling tools have assisted scientific research. As a print media artist, she explores the relationship between art and science in her studio practice and will present this historical connection with examples related to evolution, microbiology and her own work. Art and science share a common source, which leads to scrutiny and enquiry. Science sets out to reveal and explain our reality, whereas art comments and makes connections that don’t need to be tested by rigorous protocols. Art and science should each be evaluated on their own merit. Allowing room for both in the quest to understand our world will lead to an enriched experience.     

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.     

Taking up the legacy of Waterhouse Hawkins and Owen: art and science for a new Italian project to bring back dinosaurs to life

Since their initial formal recognition by Richard Owen in 1842, dinosaurs have always stood out in the collective imagination for their size and unusual appearance. Therefore, these marvellous animals are a source of curiosity and wonder for people of all ages, social and cultural backgrounds. Thanks to improved research techniques, palaeontologists have been able to work reconstructing the most plausible appearance of dinosaurs. Starting with petrified bones, they tried to make a dream come true – to bring the planet’s ancient inhabitants back to life. The new Italian exhibition Dinosaurs in the Flesh: Science and Art bring the Rulers of a Lost World Back to Life reveals the marriage of science and art that brings back to life animals that lived tens or hundreds of millions of years ago. Palaeontologists and artists collaborate on reconstructing the appearance of organisms from the distant past through study of the fossils, often with the aid of new technologies. The new project, which takes up the idea of Waterhouse Hawkins and Owen and their legacy to restore these ancient vertebrates based on solid scientific foundations, represents to date the only way to reanimate these fascinating lost animals.     

Respiratory findings in art students

Art students are exposed to many noxious agents during their training. We studied respiratory findings in a cohort of the 117 art students in order to investigate the potential effects of these toxic agents in the art student's environment. A group of 88 medical students matched for age, sex and smoking, not exposed to known environmental pollutants were studied as controls for respiratory symptoms. Respiratory symptoms acute and chronic were evaluated by modifying the British Medical Research Council questionnaire. Lung function studies were performed with a spirometer (Jaeger, Germany) measuring maximum expiratory flow-volume (MEFV) curves. Significantly higher prevalences of most of the chronic respiratory symptoms were recorded in art compared to medical students (p < 0.05). Art students who were smokers had significantly higher prevalences of many of the chronic respiratory symptoms than nonsmoking art students. High prevalences of acute symptoms related to the study environment were recorded for art students. Odds ratios in male art students were significant for chronic cough, chronic phlegm and chronic bronchitis for the risk factors of exposure and smoking. Significantly decreased lung function was recorded for FVC, FEF50 and FEF25 in male and FVC, and FEF25 in female art students. Smokers and nonsmokers had similar reductions of lung function. Our data indicate that art students may be at risk of developing chronic respiratory symptoms and lung function changes as a result of their exposure and their smoking habits.     

Pushing back frontiers: Towards a history of art in a global perspective

Traditionally, art history is a discipline focusing on the developments of Western art and architecture. It is time, however, to broaden our perspective. The world is changing, art is changing, somutatis mutandis is art history. This does not happen on its own accord. Art history needs rewriting and art historians have to do it. We need to take a critical look at our premises and points of departure, and we need to change the art historical curricula at universities and art schools. At Leiden University, the Netherlands, the Department of Art History has opted for a new orientation and decided to study the history of art from a global perspective. This means that students will meet with three lines of approach to the visual art and material culture from regions other than the West. Firstly, they are introduced to the art and material culture of Asian, African, and Amerindian civilizations by colleagues from those fields, which Leiden is so fortunate to have. The Faculty of Arts at Leiden University, houses a wide variety of language and culture studies of the world. The second approach focuses on interactions, mutual influences, and interculturalization processes in art and culture. And the third addresses methodical-theoretical reflection on art history in a global perspective. The aim here is to formulate a theoretical framework for the study of art worldwide, thereby pursuing ‘comparative art history’. In order to achieve these perspectives, exchanging ideas and concepts with anthropologists can be very productive.     

The New Teacher of Art

Because of education reform policy and misconceptions about artistry and artistic assessment, visual art education remains in the margins of high school education. One response to the lack of supportive arts education policy is the Advanced Placement (AP) Studio Art Program, a visual arts assessment at the high school level that engages large numbers of students in rigorous art experiences. This article reviews the structure and characteristics of the AP portfolio assessment as a basis for critique and policy analysis. At issue are the reliability of this assessment's measurements and its level of credibility with key constituencies. These concerns are especially relevant in a testing culture in which objective evaluations are highly regarded and art education programs are often threatened. The authors suggest possibilities for future research and policy recommendations for secondary art education.     

Relationship between Violent Behavior and Repeated Weight-Loss Dieting among Female Adolescents in Japan

Purpose

To examine whether interpersonal violence perpetration and violence toward objects are associated with body mass index (BMI), body weight perception (BWP), and repeated weight-loss dieting in female adolescents.

Methods

A cross-sectional survey using a self-report questionnaire was performed evaluating interpersonal violence perpetration, violence toward objects, the number of diets, BMI, BWP, the 12-item General Health Questionnaire (GHQ-12), victimization, substance use, and other psychosocial variables among 9,112 Japanese females aged between 12–18 years. Logistic regression analysis was conducted to analyze the contribution of BMI, BWP, and weight-control behavior to the incidence of violent behavior, while controlling for potential confounding factors.

Results

The number of diets was associated with both interpersonal violence perpetration (OR = 1.18, 95% CI 1.08–1.29, p<0.001) and violence toward objects (OR = 1.34, 95% CI 1.24–1.45, p<0.001), after adjusting for age, BMI, BWP, the GHQ-12 total score, victimization, and substance use. In terms of BMI and BWP, the “overweight” BWP was associated with violence toward objects (OR = 1.29, 95% CI 1.07–1.54, p<0.05). On the other hand, the “Underweight” and “Slightly underweight” BMI were related to violence toward objects [(OR = 1.28, 95% CI 1.01–1.62, p<0.05) and (OR = 1.27, 95% CI 1.07–1.51, p<0.05), respectively]. The “Underweight” BWP was related to interpersonal violence perpetration (OR = 2.30, 95% CI 1.38–3.84, p<0.05).

Conclusions

The cumulative number of diets is associated with violent behavior in female adolescents. In addition, underweight BMI and extreme BWP are associated with violent behavior.