Quebrando círculos: políticas da pré-história

The article addresses Robert Smithson’s work and its political, historical, geological and artistic relations that it establishes. It presents the artist’s major earthworks and adds them to broader issues relating to the art world.O texto aborda a produção de Robert Smithson e as relações políticas, históricas, geológicas e artísticas que ela estabelece. Apresenta as principais earthworks do artista e as articula com questões mais amplas ligadas ao mundo da arte

"The Collecting Itself Feels Good": Towards Collection Interfaces for Digital Game Objects

© Lennart Nacke, 2016. This is the author’s version of the work. It is posted here for your personal use. Not for redistribution. The definitive version was published in CHI PLAY Companion '16 Proceedings of the 2016 Annual Symposium on Computer-Human Interaction in Play Companion Extended Abstracts, https://doi.org/10.1145/2967934.2968088Digital games offer a variety of collectible objects. We investigate players' collecting behaviors in digital games to determine what digital game objects players enjoyed collecting and why they valued these objects. Using this information, we seek to inform the design of future digital game object collection interfaces. We discuss the types of objects that players prefer, the reasons that players value digital game objects, and how collection behaviors may guide play. Through our findings, we identify design implications for digital game object collection interfaces: enable object curation, preserve rules and mechanics, preserve context of play, and allow players to share their collections with others. Digital game object collection interfaces are applicable to the design of digital games, gamified applications, and educational software.Canadian Network for Research and Innovation in Machining Technology, Natural Sciences and Engineering Research Council of Canada Social Sciences and Humanities Research Council of CanadaPeer-reviewe

Narrative Personae and Visual Signs: Reading Leonard’s intimate photo-memoir. a/b: Auto/Biography Studies.

In this paper, I look at Joanne Leonard’s Being in Pictures and engage in a critical dialogue with an assemblage of visual and textual narratives that comprise her intimate photo memoir. In doing this I draw on Hannah Arendt’s take on narratives as tangible traces of uniqueness and plurality, political traits par excellence in the cultural histories of the human condition. Being aware of my role as a reader/viewer/interpreter of a woman artist’s auto/biographical narratives, I move beyond dilemmas of representation or questions of unveiling “the real Leonard”. The artist is instead configured as a narrative persona, whose narratives respond to three interrelated themes of inquiry, namely the visualization of spatial technologies, vulnerability and the gendering of memory. Key words: gendered memories, narrative persona, spatial technologies, photo memoir, vulnerabilit

Conceptual Art

Providing a re-examination of what Osborne identifies as a major turning point in contemporary art, this monograph takes a chronological and stylistic look at conceptual art from its “pre-history” (1950-1960) to contemporary practices that use conceptual strategies. Osborne surveys the development of the movement in relation to the social, cultural and political contexts within which it evolved. With extended captions, key works are compiled according to ten themes that also serve to present a collection of critical texts, artists’ statements, interviews and commentaries. Includes biographical notes on artists (6 p.) and authors (2 p.), a bibliography (2 p.) and an onomastic index (4 p.) Circa 150 bibl. ref

Strata : Nancy Graves, Eva Hesse, Michelle Stuart, Jackie Windsor

Lippard analyses each artists' work, foregrounding the artists' sources, use of materials and process, and the works' intervention in art discourses. Biographical notes. 9 bibl. ref

955,000

Lippard describes the catalogue which consists of randomly arranged index cards submitted by the artists. According to Alhadeff, this exhibition is not bound by the conventions of the museum. 76 bibl. ref

Lucy Lippard

Through writing, curating, and social and cultural activism, Lucy Lippard has brought awareness to the relationship between the context and conditions of an artwork\u27s production, presentation and circulation. Her writing and exhibitions express how social movements such as feminism and Indigenous sovereignty have shifted how we interpret and value art objects and gestures. In turn, the inauguration of new artistic forms and processes such as performance and text art influence how we relate and respond to political pressures. Lippard\u27s most recent publication "Undermining: A Wild Ride Through Land Use, Politics, and Art in the Changing West" expands from her experience living and working in New Mexico since the 1990s. The book explores the entangled economies, politics and cultural values of fracking, mining, Indigenous land and water rights, eco-tourism, public art, architecture and sacred sites, among others. The book unfolds from her earlier writing on place-based art, conceptualism and land art, to more deeply explore the broad impacts of development and progress in the twenty-first century. Vancouver and British Columbia are part of the same changing west that Lippard writes about, and the forces at play in our political and economic landscape bear the same burdens on Indigenous rights, ecological health and cultural values. Her public talk on "Undermining" at SFU continues the relationship she has had with Vancouver for over four decades. She curated the exhibition 955,000 in 1970 at the Vancouver Art Gallery and offsite locations, and she recently contributed to the catalogue for Lawrence Paul Yuxweluptun: Unceded Territories at the Museum of Anthropology. Lippard is an internationally known writer, activist and curator. She has written more than twenty books, has curated more than fifty major exhibitions, and holds nine honorary doctorates of fine arts. Her books include "The Lure of the Local", "Partial Recall", "The Pink Glass Swan", "Mixed Blessings", "On the Beaten Track", "Overlay", and "Undermining", all published by The New Press. Lippard is the recipient of numerous awards, most recently the Carolyn Bancroft History Prize from the Denver Public Library and grants from Creative Capital and the Lannan Foundation. She lives in New Mexico

Peter Dean : A Retrospective

Lippard incorporates biographical information in a description of Dean's expressionist paintings which critique social and political regimes. 1 bibl. ref