Arts

Open AccessArticle

Apopcalypse: The Popularity of Heavy Metal as Heir to Apocalyptic Artifacts

by

Arts 2023, 12(3), 120; https://doi.org/10.3390/arts12030120 - 06 Jun 2023

This paper examines the heavy metal genre as a popular form of apocalypticism, i.e., as a warning reminder or “premediation” of potentially (large-scale) lethal crises. By confronting the audience with disturbing, seemingly exaggerated scenarios of disease, chaos, war, and horror, heavy metal builds [...] Read more.

This paper examines the heavy metal genre as a popular form of apocalypticism, i.e., as a warning reminder or “premediation” of potentially (large-scale) lethal crises. By confronting the audience with disturbing, seemingly exaggerated scenarios of disease, chaos, war, and horror, heavy metal builds barriers in popular culture against what philosopher Günther Anders has called “apocalyptic blindness.” The genre, then, offers a kind of “aesthetic resilience training” particularly in relatively stable and peaceful times, when large-scale crises seem unlikely or, in the case of global nuclear war, exceed in their sheer dimension the human imagination. What connects traditional religious apocalyptic artifacts such as the Book of Revelation with heavy metal is a specific appeal to the popular. Apocalyptic artifacts and their contemporary secular heirs lend themselves well to popularization because of their strong affective and aesthetic sides, as the Revelation and its many ramifications in popular culture, not least in heavy metal, demonstrate. Full article

(This article belongs to the Special Issue New Perspectives on Pop Culture)

Open AccessArticle

Shared Brains, Proprioceptiveness, and Critically Approaching the Animal as the Animal in Artworks

by

Angela Bartram

and

Lee Deigaard

Arts 2023, 12(3), 119; https://doi.org/10.3390/arts12030119 - 06 Jun 2023

Abstract

The animal and being animal is a proposition and position that invites observational and critical debate. Yet, the presence of the non-human animal is usually and normatively confined to representational artworks rather than the animal itself in the gallery or museum, which is, [...] Read more.

The animal and being animal is a proposition and position that invites observational and critical debate. Yet, the presence of the non-human animal is usually and normatively confined to representational artworks rather than the animal itself in the gallery or museum, which is, potentially, problematically anthropocentric. Using diverse methods, processes, and materials, and curious to a myriad of opening potentialities, Bartram + Deigaard, in contrast to this problem, explore working as humans from an animal-centric perspective through artistic research. They bring sensitivities to their handling of the animal, as both artistic subject and collaborator, to observe and engage with empathy and openness to animal insight and revelation and behaviour. Their works in performance, video, drawing, and printmaking foreground animal proximity and behaviour, inter-species proprioception, reciprocal caretaking, synchronised respiration, and companionate movement. This article explores the socialised and familiar in close observation, directly and indirectly, in their individual yet companion practices, illuminating the benefits of a radically enlarged sentiocentrism. It reflects on the allowing and embracing of other species within their artworks, and of being mindful and sensible with balancing sympathies and empathies as humans within an often unbalanced system of agency. Specifically, it gleans patterns and insights from their exhibition at Tippetts and Eccles Galleries at Utah State University in 2021, where they invited a canine collaborator into their thinking through praxis and the interventions and residual outcomes this created. This essay discusses two individual video artworks from each artist, which document their invitations to non-human animals into the gallery or museum, and two durational artworks curated within this exhibition. Full article

(This article belongs to the Special Issue Art and Animals and the Ethical Position)

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Open AccessArticle

Atlantic Masters: Three Early Modern Afro-Brazilian Artists

by

Miguel A. Valerio

Arts 2023, 12(3), 118; https://doi.org/10.3390/arts12030118 - 02 Jun 2023

Abstract

Brazil received the largest number of Africans enslaved into the Americas: nearly five million by some estimates. Thus, Brazil became the world’s largest slavocracy. But slavery was not the only experience available to Africans and Brazilians of African descent in slavery-era Brazil. Numerically, [...] Read more.

Brazil received the largest number of Africans enslaved into the Americas: nearly five million by some estimates. Thus, Brazil became the world’s largest slavocracy. But slavery was not the only experience available to Africans and Brazilians of African descent in slavery-era Brazil. Numerically, Afro-Brazilians dominated the arts in colonial Brazil. However, very few of those artists and artisans, many of whom were enslaved, are known by name today. Free Afro-Brazilian artists, such as Aleijadinho, Mestre Valentim, and Teófilo de Jesus, on the other hand, fared far better. In this article, I turn to these three mixed-race artists’ works and what little is known of their lives, not only as exemplary Afro-Brazilian artists but also as some of the most important artists of Brazil’s late colonial period, where they had the greatest impact on the artistic developments in their home regions. These artists’ careers thus illustrate how artists of African descent contributed to and defined urban and sacred spaces in the early modern Atlantic. This is therefore an invitation to look at Afrodescendants’ role in early modern art beyond the anonymity of slavery and static representation. Full article

(This article belongs to the Special Issue Black Artists in the Atlantic World)

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Open AccessArticle

Home: Photographs by Lim Sokchanlina and Yoppy Pieter

by

Akshatha Rangarajan

Arts 2023, 12(3), 117; https://doi.org/10.3390/arts12030117 - 02 Jun 2023

Abstract

Photography by Cambodian artist Lim Sokchanlina (b.1987) in his National Road Number 5 series and Indonesian artist Yoppy Pieter’s (b.1984) Saujana Sumpu series interpret the notion of placemaking. Sokchanlina and Pieter portray a fraught relationship between place and identity, integrating a sense of [...] Read more.

Photography by Cambodian artist Lim Sokchanlina (b.1987) in his National Road Number 5 series and Indonesian artist Yoppy Pieter’s (b.1984) Saujana Sumpu series interpret the notion of placemaking. Sokchanlina and Pieter portray a fraught relationship between place and identity, integrating a sense of belonging integral to a residence and connecting the medium of photography with the appeal of a home. This article explores the conceptual and aesthetic strategies used by the artists to convey the personal and communal history of place in Cambodia and Indonesia. The artists explore a three-fold intent of place, as having a geographical presence, as an environment to conduct social relations, and as an entity encouraging inherent attachment, constantly shifting between the various connotations, creating intermediary nuances between the meanings. Their methodology of using placemaking to deconstruct the traditional model of a home using contemporary art with a community’s heritage creates a unique Southeast Asian identity. The interaction between people and spaces, the configuration of values and identities, and the manifestation of personal and collective memory consolidate the idea of placemaking with the aesthetics of home. Full article

(This article belongs to the Special Issue Photographic Aesthetics of Home)

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Open AccessArticle

Augmented Reality and the Dematerialization of Experiential Art

by

Dawna Schuld

Arts 2023, 12(3), 116; https://doi.org/10.3390/arts12030116 - 02 Jun 2023

Abstract

One of the most compelling effects of digitally enhanced and digitally enabled immersive exhibitions is their paradoxical dematerialization of “analog” experience. What leads exhibition visitors to accept that immersion is a state achieved only through technological mediation? Are we not already perceptually immersed [...] Read more.

One of the most compelling effects of digitally enhanced and digitally enabled immersive exhibitions is their paradoxical dematerialization of “analog” experience. What leads exhibition visitors to accept that immersion is a state achieved only through technological mediation? Are we not already perceptually immersed in the world, as the phenomenologists asserted? This essay explores how digital enhancement disengages self-awareness by masquerading as immersion. In contrast, contemporary artists Karin Sander, Janet Cardiff, and Chris Salter employ desynchronizing and dislocating tactics to challenge naïve notions of what comprises an aesthetic experience, in order to requaint viewers with their own perceptual and ethical agency. Full article

(This article belongs to the Special Issue Framing the Virtual: New Technologies and Immersive Exhibitions)

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Open AccessArticle

Street Guide as a Literary Genre: La Manada City

by

María del Mar López-Cabrales

,

Joseph Cabeza-Lainez

and

Inmaculada Rodriguez-Cunill

Arts 2023, 12(3), 115; https://doi.org/10.3390/arts12030115 - 31 May 2023

Abstract

This study thoroughly examines La Manada (The Wolf Pack) City, an artwork that illuminates the various forms of violence and oppression experienced by urban communities, particularly women and marginalized groups. Our research specifically focuses on the literary elements of this painted map [...] Read more.

This study thoroughly examines La Manada (The Wolf Pack) City, an artwork that illuminates the various forms of violence and oppression experienced by urban communities, particularly women and marginalized groups. Our research specifically focuses on the literary elements of this painted map which demonstrates the transition from defensive to artistic strategies as a means of survival. Initially, we aim to provide a comprehensive background of the artwork, including its title, social context, the incidents that inspired the idea, and the author’s activism. Subsequently, we scrutinize the literary resources of the 257 items that comprise the street guide of the map. By analysing the various names given to locations on the map, including literary devices and semantic fields, we observe reminiscences of classic surrealist paintings and the artist’s ability to protect herself while revealing the violence hidden behind the guise of antithesis, alliteration, metaphor, and other literary devices. To demonstrate the effectiveness of our research, we compared it to two other maps with different intentions. Our findings confirm the strength of La Manada City, which operates both locally and globally. As a representation of the former emporium city of Seville, our map exposes the adverse impact of dominant capitalistic strategies on community life, perpetuating inequalities for countless “poor owners of the world” by disregarding nature and culture. Full article

(This article belongs to the Special Issue Arts: Art and Urban Studies)

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Open AccessArticle

Nicola Guerra (1865–1842) at the Budapest Opera: A Crucial Turning Point for Hungarian Ballet

by

Francesca Falcone

Arts 2023, 12(3), 114; https://doi.org/10.3390/arts12030114 - 31 May 2023

Abstract

This study aims to investigate the contribution that the Italian maestro Nicola Guerra brought to the Budapest Opera House Ballet (from 1902 to 1915), founding a corps de ballet capable of competing with the best corps de ballet of other international theatres and [...] Read more.

This study aims to investigate the contribution that the Italian maestro Nicola Guerra brought to the Budapest Opera House Ballet (from 1902 to 1915), founding a corps de ballet capable of competing with the best corps de ballet of other international theatres and endowing the theatre with a consistent and valuable number of choreographies, some of which were performed even after Guerra had left Hungary. It also aims to investigate the transnational career of a choreographer in the early twentieth century, exploring the circulation of mindsets in a range of dance concepts. The investigation explores first-hand sources, many of which come from the Guerra family archives, dwelling also on the notations transcribed by the maestro himself, in particular of the ballet Havasi Gyopár (Edelweiss), which allow us to draw with some reliability on his compositional style that was particularly fruitful in choreographies for large groups. Full article

(This article belongs to the Special Issue The History of Hungarian Ballet)

Open AccessArticle

Performing Feces in Contemporary Video and Performance Art in Israel

by

Nissim Gal

Arts 2023, 12(3), 113; https://doi.org/10.3390/arts12030113 - 31 May 2023

Abstract

In its political ideology, large sectors of Israeli society hold the belief that only people who share its ethnocratic values can share the same hygiene identity with it, reflecting its self-perception as a pure national subject. This is the context in which scatological [...] Read more.

In its political ideology, large sectors of Israeli society hold the belief that only people who share its ethnocratic values can share the same hygiene identity with it, reflecting its self-perception as a pure national subject. This is the context in which scatological works based on radical materialism and ethical critique first appeared in Israeli performance and video art at the turn of the twenty-first century. The artworks under discussion seek to consider humankind as machines that produce waste, with an emphasis on the excess waste that separates those who are excluded from the dominant Israeli-nationalist-Zionist view or discourse. Some artists employ excrement as a tool to degrade power structures, while others see it as a source of creativity and an alternative way of material and ethical life. Performing feces, or being shit, constitutes a position of creation, observation, and being to which we should pay particular attention at this moment in time. Full article

(This article belongs to the Special Issue Rethinking Materiality in Modern and Contemporary Art)

Open AccessArticle

Socio-Educational Impact of Ukraine War Murals: Jasień Railway Station Gallery

by

Elżbieta Perzycka-Borowska

,

Marta Gliniecka

,

Kalina Kukiełko

and

Michał Parchimowicz

Arts 2023, 12(3), 112; https://doi.org/10.3390/arts12030112 - 30 May 2023

Abstract

Exploring the role of public art in conveying complex socio-political messages, this article investigates the multifaceted socio-educational impact of 32 murals representing the war in Ukraine, located in Jasień Railway Station, Gdansk, Poland. Employing an interdisciplinary research approach, the study combines critical theory [...] Read more.

Exploring the role of public art in conveying complex socio-political messages, this article investigates the multifaceted socio-educational impact of 32 murals representing the war in Ukraine, located in Jasień Railway Station, Gdansk, Poland. Employing an interdisciplinary research approach, the study combines critical theory and visual communication methodologies to uncover the deeper messages conveyed by these thought-provoking murals. The analysis encompasses six diverse perspectives—historical, personal, ethical, cultural, technical, and critical—leading to the identification of six distinct mural categories: (1) resistance and hope, (2) family and courage, (3) suffering and death, (4) torturers and the oppressed, (5) animals, and (6) idyllic. The study underscores the significance of murals as a public art form for symbolically communicating social, cultural, and political events while introducing novel interpretations and expanding visual communication possibilities. Furthermore, this research demonstrates the potential of interdisciplinary approaches in exploring the intricate relationships between public art and the messages they convey, showcasing their capacity to shape public opinion and foster dialogue. Full article

(This article belongs to the Section Visual Arts)

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Open AccessArticle

Color Semantics of the Cultural Landscape

by

Olga Lavrenova

Arts 2023, 12(3), 111; https://doi.org/10.3390/arts12030111 - 30 May 2023

Abstract

A cultural landscape is the result of a continuous interaction between the surrounding natural landscape and culture. Meanings, symbols, and codes of culture are an integral part of it. This paper is a review of publications on current research over the past 20 [...] Read more.

A cultural landscape is the result of a continuous interaction between the surrounding natural landscape and culture. Meanings, symbols, and codes of culture are an integral part of it. This paper is a review of publications on current research over the past 20 years. The aim is to analyze the existing research practices, which are based on factual evidence and existing theoretical foundations, using an interdisciplinary approach, in order to come closer to a sufficiently holistic understanding of the coloristic semantics of the cultural landscape. Such a review and analysis of disparate studies allows for the first time the correlation of different types of cultural landscapes (urban, rural, gardens, and parks) and different types of signifier functions performed in them by color—signals, indices, iconic models, conventional signs or symbols, zero, or empty signs. The author analyzes the difference in the semantics of chromatic and achromatic colors and explores the landscape chromodynamics, namely, by creating the first-ever classification of the types and meanings of color foci of various durations—from days to decades. Color loci signs are continuously communicating in the cultural landscape, which is a field of constant “cultural explosion”, where traditional cultural meanings are transmitted and new meanings are generated. The author comes to the conclusion that color symbolism is part of the “landscape-as-text” containing certain information—“messages” of culture to itself. In these messages, color has sacral, temporal, and historical semantics, thus creating an extended semantic frame for the reproduction of cultural codes. Full article

(This article belongs to the Special Issue Colour: Art and Design in Urban Environments)

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Open AccessEssay

Minding the Body: Space, Memory, and Visual Culture in Constructions of Jewish Identity

by

Kerri Steinberg

Arts 2023, 12(3), 110; https://doi.org/10.3390/arts12030110 - 30 May 2023

Abstract

While it is well established that articulations of identity must always be contextualized within time and place, only when we consider how bodies move through, touch, and are touched by physical, cognitive, and even imaginary spaces do we arrive at dynamic and intersectional [...] Read more.

While it is well established that articulations of identity must always be contextualized within time and place, only when we consider how bodies move through, touch, and are touched by physical, cognitive, and even imaginary spaces do we arrive at dynamic and intersectional expressions of identity. Using two divergent visual culture case studies, this essay first applies Setha Low’s theory of embodied spaces to understand the intersection and interconnection between body, space, and culture, and how the concept of belongingness is knotted with material and representational indicators of space at the Yad Vashem Holocaust History Museum in Israel. Marianne Hirsch’s ideas about the Holocaust and affiliative postmemory are also considered to further understand how Jewish bodies inherit their identifies and sense of belonging. To test how embodied spaces and affiliative postmemory or collective memory implicitly operate to help shape and articulate expressions of Jewish identities, the focus then shifts to a consideration of the eight-decade career of New York jazz musician and visual artist, Bill Wurtzel. The clever combination of “schtick and sechel” in Wurtzel’s artistic practice, activated by his movement through the Jewish spaces of his youth such as the Catskills, and through his interaction with Jewish design great, Lou Dorfsman, underscore how Jewish belonging and identity are forged at the intersection of physical and tactile “embodied spaces,” where the internal meets the external and human consciousness and experience converge. Full article

(This article belongs to the Special Issue New Articulations of Identity in Contemporary Aesthetics)

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Open AccessEssay

The Lisa and John Slideshow (2017): A Play about Photography

by

David Moore

Arts 2023, 12(3), 109; https://doi.org/10.3390/arts12030109 - 26 May 2023

Abstract

The Lisa and John Slideshow is a theatrical response to my own earlier photographic project, Pictures from the Real World. Colour Photographs, 1987–88, interrogating recurring theoretical questions that challenge the discourse of social documentary photography through an expanded practice. As a significant [...] Read more.

The Lisa and John Slideshow is a theatrical response to my own earlier photographic project, Pictures from the Real World. Colour Photographs, 1987–88, interrogating recurring theoretical questions that challenge the discourse of social documentary photography through an expanded practice. As a significant piece of research, devised through participation with those depicted within the image, the forty-five-minute play questions representational methods through an alternate medium. The project evokes what else was knowable from the terrain of possibilities when the sovereign images of the former project were captured, as it reaches into photographs, opening contextual focus on the social, political and relational aspects of production. This paper is drawn from my Ph.D. thesis, What the Subject Does. Lisa and John and Pictures from the Real World submitted to the University of Sussex in December 2022. The question asked within this commentary is: How can unequal power relations within photographic representation of working-class communities be renegotiated through trans-media practice and the use of theatre? Full article

(This article belongs to the Special Issue (Modern) Photography: The Magic of Lights and Shadows)

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Open AccessEssay

On Hijacking LED Walls

by

Mathilde Roman

Arts 2023, 12(3), 108; https://doi.org/10.3390/arts12030108 - 26 May 2023

Abstract

In recent years, the LED walls originally used in outdoor spaces by advertising companies to extend the consumption of images in our daily life have been appropriated by artists and installed in gallery spaces. When viewed nearby or when walking around them, LED [...] Read more.

In recent years, the LED walls originally used in outdoor spaces by advertising companies to extend the consumption of images in our daily life have been appropriated by artists and installed in gallery spaces. When viewed nearby or when walking around them, LED walls become in some way dysfunctional: The images fade, points and color distortions appear, and the spectacle of the machine interruputs our habitual viewing patterns. This article focuses on three recent works which disrupt immersive viewing regimes through what I call “hijacking” advanced LED technology. Lucy Raven (Tucson, AZ, USA), Demolition of a Wall (Album 2), 2022. Eija-Liisa Ahtila (Helsinki, Finland), Potentiality for Love, 2018. Marco Fusinato (Sidney, Australia), Desastres, Australian Pavilion, Venice Biennale, 2022. These three artists use the sculptural and spectacular effect of freestanding LED walls to call attention to our habitual capitalist relation to LED technology. Through performative or narrative pieces, these artists deploy poetic and artistic effects to explore the politics of technological immersion in capitalist societies. Full article

(This article belongs to the Special Issue Framing the Virtual: New Technologies and Immersive Exhibitions)

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Open AccessArticle

Empowering Children and Revitalising Architecture through Participatory Art: The What Animal Is It? Project by Iza Rutkowska

by

Iwona Szustakiewicz

Arts 2023, 12(3), 107; https://doi.org/10.3390/arts12030107 - 25 May 2023

Abstract

This article explores how a holistic combination of three components, society, art, and architecture, can contribute to the successful revitalisation of derelict buildings and, at the same time, improve the well-being of the users of reclaimed spaces. The author uses a case study [...] Read more.

This article explores how a holistic combination of three components, society, art, and architecture, can contribute to the successful revitalisation of derelict buildings and, at the same time, improve the well-being of the users of reclaimed spaces. The author uses a case study of a playground designed by the artist Iza Rutkowska in cooperation with children in a specific location at the Intermediae Matadero centre in Madrid. The centre is located in a revitalised warehouse in the complex of former municipal slaughterhouses, built at the beginning of the 20th century. The analysis of Iza Rutkowska’s work is conducted against the background of broader analyses of the elements of the triad and the conditions required for them to enter into dialogue with each other. Their synergic combination is one of the factors that can have a positive impact on the regeneration of even such alien spaces as former industrial buildings. The users’ creative activities fill space with new meanings and turn it into a place perceived as good. At the same time, the effects go beyond the walls of the redeveloped buildings, positively influencing the well-being of the users and creating social relationships. Full article

(This article belongs to the Special Issue Relationship between Art, Architecture and Society)

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Open AccessArticle

Uday Shan-Kar and Me: Stories of Self-Orientalization, Hyphenization, and Diasporic Declarations

by

Lionel Popkin

Arts 2023, 12(3), 106; https://doi.org/10.3390/arts12030106 - 18 May 2023

Abstract

This article discusses how orientalism has operated and continues to operate within the North American artistic landscape of dance artists. The author starts by focusing on Uday Shankar (1900–1977), one of the major, though often overlooked, figures over the last 100 years of [...] Read more.

This article discusses how orientalism has operated and continues to operate within the North American artistic landscape of dance artists. The author starts by focusing on Uday Shankar (1900–1977), one of the major, though often overlooked, figures over the last 100 years of South Asian (and predominantly Indian) dance performance on the concert stage in the diasporic context, to consider how orientalism, the desire for authenticity, a nationalist agenda, religious fundamentalism, economic necessities, multi-cultural initiatives, and diversity desires all interact and coalesce to form an undercurrent of limited potentials about how and why South Asian dance can exist within the American performance discourse. In an auto-ethnographic move, the author then juxtaposes Shankar’s historical legacy with a new artistic project by the author (b. 1969), entitled Reorient the Orient, premiering in 2024. The writing uses archival sources such as photographs, programs, publicity materials, featured essays, newspaper previews, reviews, filmed dance footage, choreographic analysis, and personal reflections to explore how social factors and personal ambitions create awkward relationships within orientalism’s manifestations in the diasporic U.S. performance landscape. Full article

(This article belongs to the Special Issue South Asian Diasporic Dance Artists: Choreographic Cultural Negotiations)

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Open AccessArticle

Transforming Circe: Latin Influences on the Depiction of a Sorceress in Renaissance Cassone Narratives

by

Margaret Franklin

Arts 2023, 12(3), 105; https://doi.org/10.3390/arts12030105 - 18 May 2023

Abstract

This article addresses the use of Latin accounts of Homer’s archetypal sorceress, Circe, in visual narratives constructed to embellish quattrocento marriage chests (cassoni). I argue that Apollonio di Giovanni employed the writings of both ancient (Virgil) and late medieval (Boccaccio) Latin authors to [...] Read more.

This article addresses the use of Latin accounts of Homer’s archetypal sorceress, Circe, in visual narratives constructed to embellish quattrocento marriage chests (cassoni). I argue that Apollonio di Giovanni employed the writings of both ancient (Virgil) and late medieval (Boccaccio) Latin authors to construct a characterization of Circe that rendered her power to transform men into beasts relevant to the functioning of Early Renaissance homes and societies. Full article

(This article belongs to the Special Issue Metamorphosis in the Arts (c.500-c.1700))

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Open AccessArticle

Arts, Artworks and Manuscripts in Sicily between the 12th and 13th Centuries: Interactions and Interchanges at the Mediterranean Crossroads

by

Giulia Arcidiacono

Arts 2023, 12(3), 104; https://doi.org/10.3390/arts12030104 - 16 May 2023

Abstract

This research explores the figurative culture that flourished in Sicily during the 12th and 13th centuries, focusing on the interplay between artifacts of different types, materials, techniques and uses. Paintings, sculptures and objects that share a common visual language are analyzed with the [...] Read more.

This research explores the figurative culture that flourished in Sicily during the 12th and 13th centuries, focusing on the interplay between artifacts of different types, materials, techniques and uses. Paintings, sculptures and objects that share a common visual language are analyzed with the aim of highlighting recurring motifs, mutual influences and related sources. The main focus is on the decorative apparatus of the Sacramentary Ms. 52 (Madrid, Biblioteca Nacional de España), one of the most famous illuminated manuscripts from Sicily. The date, origin and patronage of this luxurious liturgical book have been the subject of intense scholarly debate. In order to shed light on these controversial issues, this study re-examines the various hypotheses considered by scholars, taking into account the historical events that affected Sicily from the end of the Norman to the beginning of the Swabian era. This analysis also shows how the decoration of the manuscript fits into the wider dynamics of cultural exchange that characterized Sicily and the Mediterranean during this transitional period. Full article

(This article belongs to the Special Issue Byzantium and the Mediterranean (11th–13th C.): Multiculturalism, Gender and Profane Topics in Illuminated Manuscripts)

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Open AccessArticle

Roda and Terreiro: The Historiography of Brazil’s Visual Arts at the Crossroads of Globalization

by

Roberto Conduru

Arts 2023, 12(3), 103; https://doi.org/10.3390/arts12030103 - 16 May 2023

Abstract

The article focuses on Brazil’s visual arts historiography from the 1990s onwards when institutions in Europe and the U.S. began to present Brazil’s art more frequently amid the growing globalization of the art system. Edge cases are highlighted to demonstrate how scholars based [...] Read more.

The article focuses on Brazil’s visual arts historiography from the 1990s onwards when institutions in Europe and the U.S. began to present Brazil’s art more frequently amid the growing globalization of the art system. Edge cases are highlighted to demonstrate how scholars based outside Brazil are helping to build a canon of that country’s visual arts that contrasts and surpasses the canon of Brazil’s visual arts outlined in Brazil’s collections, exhibitions, publications, and scholarly production. The image of roda (circle) in Ronald Duarte’s Nimbo/Oxalá and Ricardo Basbaum’s image/idea of “terreiro de encontros” (terrace of encounters) are proposed as Afro-Brazilian references with which to face the challenges of these historiographic crossroads. Full article

(This article belongs to the Special Issue Rethinking Contemporary Latin American Art)

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Open AccessArticle

Reverberations of Persepolis: Persianist Readings of Late Roman Wall Decoration

by

Stephanie A. Hagan

Arts 2023, 12(3), 102; https://doi.org/10.3390/arts12030102 - 12 May 2023

Abstract

Animal combats (venationes) were a popular entertainment in the Roman world. Splashy panels of inlaid marble (opus sectile) commemorate these bloody contests in several buildings in and around Rome. Among the most well-known are survivals from the 4th century CE Basilica of Junius [...] Read more.

Animal combats (venationes) were a popular entertainment in the Roman world. Splashy panels of inlaid marble (opus sectile) commemorate these bloody contests in several buildings in and around Rome. Among the most well-known are survivals from the 4th century CE Basilica of Junius Bassus and, several decades later, the marble-revetted hall from Porta Marina at Ostia. On the face of it, the wall decoration from these sites memorializes typical Roman activities, but the panels expose the vast geography implicated in these combat spectacles. The brilliant stones used to render them came from lands as far off as the Caspian tigers and Asiatic lions they depicted. The iconography of the panels was also foreign: the animal combat, or symplegma (intertwining), is seen on works from pre-Achaemenid sculpture to Sasanian textiles, and most recognizably, at the Achaemenid palace at Persepolis, where a lion attacks a bull in relief on the Apadana stairway. Reading these panels through a Persianist lens illuminates the ways in which the Persepolitan model animated Roman themes and visual programs. Though they recalled events in the Roman arena, they also imparted political and astrological signification to the decoration by means of their Persian associations. By alluding to the Achaemenid empire, a great power of the past and a continuing rival in the form of the Sasanians, the Roman patron accrued to himself some measure of the veneration for this culture and showed himself able to communicate in an idiom legible to an international clientele. Full article

(This article belongs to the Special Issue Exchange: Media, Movement, and Meaning in Ancient–Medieval Surface Decoration)

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