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result(s) for
"Arts Experimental methods Exhibitions."
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How Paris Gave Rise to Cubism (and Picasso): Ambiguity and Fragmentation in Radical Innovation
In structural analyses of innovation, one substantive question looms large: What makes radical innovation possible if peripheral actors are more likely to originate radical ideas but are poorly positioned to promote them? An inductive study of the rise of Cubism, a revolutionary paradigm that overthrew classic principles of representation in art, results in a model where not only the periphery moves toward the core through collective action, as typically asserted, but the core also moves toward the periphery, becoming more receptive to radical ideas. The fragmentation of the art market in early 20th-century Paris served as the trigger. The proliferation of market niches and growing ambiguity over evaluation standards dramatically reduced the costs of experimentation in the periphery and the ability of the core to suppress radical ideas. A multilevel analysis linking individual creativity, peer networks, and the art field reveals how market developments fostered Spanish Cubist Pablo Picasso’s experiments and facilitated their diffusion in the absence of public support, a coherent movement, and even his active involvement. If past research attests to the importance of framing innovations and mobilizing resources in their support, this study brings attention to shifts in the structure of opportunities to do so.
Journal Article
Lights4Violence: a quasi-experimental educational intervention in six European countries to promote positive relationships among adolescents
Background
Preventing intimate partner violence or dating violence (DV) among adolescents is a public health priority due to its magnitude and damaging short and long-term consequences for adolescent and adult health. In our study protocol, we complement prior experiences in DV prevention by promoting protective factors (or assets) against gender violence such as communication skills, empathy and problem-solving capability through “Cinema Voice”, a participatory educational intervention based on adolescents’ strengths to tackle DV.
Methods/design
A longitudinal quasi-experimental educational intervention addressed to boys and girls ages 13–17 years, enrolled in secondary education schools in Alicante (Spain), Rome (Italy), Cardiff (UK), Iasi (Romania), Poznan (Poland) and Matosinhos (Portugal). Both process and results evaluations will be carried out with 100–120 intervention and 120–150 control group students per city at three time periods: before, after and 6 months after the implementation of the following interventions: 1) Training seminar with teachers to promote knowledge and skills on the core issues of intervention; 2) Workshops with intervention groups, where participants produce their own digital content presenting their perspective on DV; and 3) Short film exhibitions with participants, their families, authorities and other stakeholders with the objective of share the results and engage the community. Outcome measures are self-perceived social support, machismo, sexism, tolerance towards gender violence, social problem-solving and assertiveness as well as involvement in bullying/cyberbullying. Other socio-demographic, attitudes and violence-related co-variables were also included.
Discussion
This study may provide relevant information about the effectiveness of educational interventions that combine a positive youth development framework with educational awareness about the importance of achieving gender equality and preventing and combating gender violence. To our knowledge, this is the first study that involves six European countries in an educational intervention to promote violence protective assets among enrolled adolescents in secondary schools. This study may provide the needed tools to replicate the experience in other contexts and other countries.
Trial registration
Clinicaltrials.gov:
NCT03411564
. Unique Protocol ID: 776905. Date registered: 18-01-2018.
Journal Article
The Freak-garde
Since the 1890s, American artists have employed the arts of the freak show to envision radically different ways of being. The result is a rich avant-garde tradition that critiques and challenges capitalism from within.
The Freak-gardetraces the arts of the freak show from P. T. Barnum to Matthew Barney and demonstrates how a form of mass culture entertainment became the basis for a distinctly American avant-garde tradition. Exploring a wide range of writers, filmmakers, photographers, and artists who have appropriated the arts of the freak show, Robin Blyn exposes the disturbing power of human curiosities and the desires they unleash. Through a series of incisive and often startling readings, Blyn reveals how such figures as Mark Twain, Djuna Barnes, Tod Browning, Lon Chaney, Nathanael West, and Diane Arbus use these desires to propose alternatives to the autonomous and repressed subject of liberal capitalism. Blyn explains how, rather than grounding revolutionary subjectivities in imaginary realms innocent of capitalism, freak-garde works manufacture new subjectivities by exploiting potentials inherent to capitalism.
Defying conventional wisdom,The Freak-gardeultimately argues that postmodernism is not the death of the avant-garde but the inheritor of a vital and generative legacy. In doing so, the book establishes innovative approaches to American avant-garde practices and embodiment and lays the foundation for a more nuanced understanding of the disruptive potential of art under capitalism.
eBook
What is same but different and why does it matter?
This special section of 'Cultural Studies Review' brings together a select series of multi-media presentations originally delivered at two one-day forums titled Same but Different: Experimentation and Innovation in Desert Arts, which were held in Alice Springs in 2012 and 2013. We begin by paying our respects to the traditional owners and custodians of the country that Same but Different took shape within, the Central Arrernte people of Mparntwe/Alice Springs. Thank you for hosting Same but Different on your lands.
Journal Article
Tipping point
Throughout the works described, we see an overall shift toward the incorporation of time-based media in highly visible and much celebrated works by artists. Performance remains at issue here, as does the physical and psychological place of the viewer: cinema theatre or public gallery and museum. The viewer has become a flâneur, negotiating a locus inside the linear narrative of moving camera and unfolding vista. In an enclosed gallery or museum space there is another view as well, towards a world of past experience. The viewer is both spectator and participant with an active mind and an assessing, engaged eye.
Journal Article
Donald Brook and post-object art
Review(s) of: Donald Brook in feathered office, by Herbert Flugelman, March 1971, colour transparency, 2.4 x 3.6cm; Art Gallery of New South Wales Archive, Sydney; Herbert Flugelman, licensed by Copyright Agency, Australia.
Journal Article
Preserving Modernism: A Russian Exception?
Discusses the exhibition titled Soviet modernist architecture 1922-1932, which was on display at the Museum of Modern Art in New York beginning in 2006, as well as a symposium dedicated to the preservation of Soviet modernist buildings, Vanguard lost and found : Soviet modernist architecture between peril and preservation (New York, 28-29 September 2007).
Journal Article