A burgeoning field of literature considers animal law, the status of animals as legal objects, the protection of animals in laboratories, wild animals, etc. One aspect not often considered in the ...literature is the intersection between animal law and freedom of speech and, more specifically, the freedom of speech of artists. While these might seem disparate and mutually exclusive, they are not. A small but notable number of artists use, harm, or even kill animals in the creation of artwork. Elsewhere, this practice has been termed ‘cruel art’, defined as “the infliction of physical and/or emotional pain on non-human animals for the sole purpose of creating art that steps beyond the confines of the artist’s right to freedom of speech”. This article elaborates on the concept of ‘cruel art’ by considering animal law and the artist’s freedom of expression. Interesting questions arise at this intersection: Can the law grant rights or otherwise protect the animal from being used, harmed, or killed for an artwork? Alternatively, can the law encroach on the artists’ freedom of speech to protect the animals? There are good reasons to protect both parties—animals deserve protection from unnecessary suffering, and the artist should not be unduly censored from making art. This article seeks to engage with the following question: how can one consider an animal’s legal standing in relation to an artist’s freedom of speech? In order to answer this question, this article first briefly unpacks the concept of animal law and the need for legal reform in this arena. Secondly, this article considers freedom of speech as it relates to artists specifically. Third, it discusses the rising conflict between the legal protection of animals and the artist’s freedom of expression. This article argues that certain artistic uses of animals should be legally prohibited, despite the fact that artists enjoy the right to freedom of artistic expression.
This article analyzes two late antique martyrdom narratives in order to assess the specific manner in which they use visuality to create a sense of physical presence. It comments mainly on the ...accumulation of ekphraseis with which the authors Asterius of Amasea and Prudentius blur the limits between the fictional reality they create in their texts, and the materiality of the paintings their narrators see. Such blurring makes their audience at once viewers and partakers in the narrated pain and glory of faith connected to the martyr. Thus, the narrators experience vividly with the "eyes of the soul" the physical effect of ineffability reached when in proximity or contact with the martyr's relics in the martyrium, a holy place where heaven and earth meet. Furthermore, through these ekphraseis, the narrators are able to transmit such experience to their audience who, even if not physically in contact with the relics, can benefit from their healing powers too.
This article explores the intersections of labor and leisure in the creation of artwork made by professional sailors. Carving scrimshaw, drawing in journals, or creating intricate knot work was more ...than a response to boredom at sea. The act of creating art was influenced by an increasing awareness of leisure as a new social expectation. Art provided sailors with an outlet for self-expression. In the all-consuming work environment of the ship, making art allowed sailors to differentiate between their work time and their leisure time. The objects sailors made reflected their understandings of the world around them and their connection to other nineteenth century laborers. This article shows that sailor art, though created far out at sea, was deeply embedded in the social and cultural milieu of folk art in America.
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Las funciones del arte han sido objeto de estudio de numerosas investigaciones en las últimas décadas, aunque son pocos los estudios centrados en conocer la vinculación entre el arte y bienestar ...desde el punto de vista del sujeto participante. En este trabajo se muestran los resultados de un estudio descriptivo exploratorio correlacional que analiza la vinculación entre el arte y el bienestar mediante un cuestionario on-line ad hoc, aplicado a 462 personas de diferente edad, sexo, nivel de estudios y experiencia artística. Una amplia mayoría de ellas considera que el arte siempre puede mejorar su estado anímico siendo la música el arte preferido para ello. Algunos consideran que el arte es más eficaz que otras técnicas como el deporte para crear bienestar aunque la mayoría prefiere combinarlo con otras disciplinas. Las personas con una formación o experiencia artística son más proclives a usar cualquier manifestación artística para crear el bienestar.
Until now known only from a photograph published in 1962, the emergence of this painting of Diogenes allows it be firmly attributed to Georges de la Tour at the very outset of his career, around ...1615–20. Its close attention to descriptive detail and stark treatment of light is typical of his early works.This large canvas, horizontal in format, depicts against a sombre background an elderly man with brown hair and a white beard standing by a stone table covered with several dishevelled books. An enormous column with a decorated base dominates the top right corner. The man appears to be presenting one of the books to the viewer, gripping it with both hands and propping it on the table.
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Recent investigational studies have indicated that fronto-orbital, temporal and parietal lobes have a decisive role in artistic creation and personal identification of “beauty” in painting. Moreover, ...visual artistic work and preferences could be modified by central nervous system diseases or external stimuli such as transcranial magnetic stimulation. Both creation and preferences would depend on prior art education and sociocultural norms. However, the superior activity of the brain remains of paramount importance in production and evaluation of paintings regardless of the style, representational or abstract. Therefore, redefinition of art by neuroaesthetic principles will create a better communication between the public and the artists.
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La obra Dussan, Rafael
Artelogie,
04/2017
10
Journal Article
Open access
In the middle of the contemporary panorama of Art where in some sectors the idea, concept and verbal discourse prevail, my work, on the contrary, has wanted to focus on the language of drawing. All ...visual work, in my opinion must have its strength in the image itself, and behind it there is a whole discourse, a theoretical research and a concept. My work is basically focused on the human condition, since my language par excellence is the drawing with the constant theme of the human body.
This article examines a key question emerging from the strong program in cultural sociology — can art provide a window into social life? An examination of Giacometti's Standing Woman shows that art ...attempts to express cultural structures via immersion into and through the material surfaces of aesthetic form. Through an analysis of the iconic significance of family photos, furniture and celebrities, the article goes on to suggest that such iconic experience remains at the basis of contemporary social life. It explains how we feel part of our surroundings, how we experience the ties that bind us to the people we know and how we develop a feeling for cultural hierarchy.
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Over the course of seven years during ten events, the author explored real-time interactive audiovisual projections, using ad hoc and portable projections and audio systems. This was done in the ...specific location of Cockatoo Island in the waters of a part of Sydney Harbour, Australia. The island offers a unique combination of the remnants of a shipyard industrial precinct, other buildings, and increasingly restored natural environment. The project explored real-time audiovisual responses through projected overlays reminiscing the rich history and past events, interactively resonating with the current landscape and built environment. This included the maritime industrial history, as well as other historical layers such as convict barracks, school, and the significance of the location for Australia’s original inhabitants before colonisation by the British started in 1788. But most prominently, the recent use of the island for large scale art projects (such as the Outpost street art festival in 2011, and over a decade of use as part of the Sydney Biennale of Art, and the use of the island for film sets). This was a rich source of image material collected by the author and used to extend and reflect on current realities. By using the projections, overlaying and extending the present reality with historical data in the form of sounds and video, dialogues were facilitated and a conflation of past and present explored. The main activity were the VideoWalks, where the author, using a custom built portable audiovisual projection system and a bank of audiovisual material was able to re-place sound and video of previous events in the present context, in some instances whilst delivering a performative lecture on the way. The explorations are part of the author’s Traces project, exploring traces and remnants of past events and how these can inform design approaches. The project over the years also developed an element of recursion, by using footage of an earlier projection into the current, the footage of which was then used in the next event, and so on—up to five layers of extended reality.
Hastings discusses the power of inclusion in Donald Judd's art focusing on formal observations of his single artwork, Untitled (DSS 33) (1962). In his last text, late in 1993, before his death, Judd ...tells us there has been no discussion of space, the main concern in his art.3 The artist makes this claim despite the intense attention paid to his work since its 1963 debut in a group exhibition in New York.4 The exhibition included DSS 33, Judd’s first entirely self-determined freestanding, three-dimensional work. To address Judd’s claim from the beginning, then, this single work is the main focus of this essay. For DSS 33, the living force of its existence is bound by the perpetual process of its spatial constitution. The process, for Judd, is “first and primary and in a way is the conclusion.” For this reason, this essay will focus on the process of space in DSS 33, a process that is also this essay’s main argument and, thereby, the conclusion this essay hopes to reach.
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