Spot Games and Log Cabins: an exhibition featuring the work of Theresa Devine and Luke Haynes (original) (raw)
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Women fiber artists have engaged in the core concepts of Modern Art, including color theory, geometry, and abstract composition, in ways that have not always been acknowledged by art historians. Through research, writing and an accompanying quilt project, artists Nora Renick Rinehart and Rachel Wallis (otherwise known as Craft/Work) have documented the parallel history of fiber art and artists in Contemporary Art - beginning with the often overlooked artists of the Bauhaus Weaving Workshops - and continuing through Modern Art history to one of the most talked about works of Contemporary Art on the market today.
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Game Worlds: A Howard Becker Influenced Institutional Theory of Games
Usually the term "Gameworld" or "game world" refers to an in-game space of a digital game designed by developers and enjoyed by players. In this article, I am not using the term in that way. I am interested in situating the makers, supporters, and critics of the game world in relationship to one another, using the template set forth in Art Worlds written by Howard S. Becker in 1982. His institutional theory of art serves as an exemplar to comprehend the game world from a sociological viewpoint. Currently, no one has taken the time to sort out the sociological structure of the construction, delivery and reception of games. This article fills that gap.
Historical Overview of Olfactory Art in the 20th Century
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With the digitization of sight and sound, smell is becoming one of the last bastions of materiality in an age of immaterial globalization. The resistance of odor to electrification makes it one of the aspects of an artwork that still demands the physical presence of its audience in order to experience it. As such the olfactory is, perhaps unintentionally, emerging as a refuge for the necessity of embodiment in exhibition making. Olfactory art is certainly nothing novel; its roots trace back to the beginnings of modern art. One of its earliest occurrences was in Marcel Duchamp’s 1938 Surrealist Exhibition in Paris, where an installation filled the air with the aroma of roasting coffee. Since then, a great assortment of figures have contributed to olfactory art’s growing lexicon: from Ed Kienholz’s Beanery and Takako Saito’s Smell Chess in the sixties; Judy Chicago’s Menstruation Bathroom and Walter De Maria’s Earth Room in the seventies; to Joseph Beuys’ Olivestone and Richard Wilson’s 20:50 in the eighties; and Nancy Rubins’ Mattresses and Cakes and Damien Hirst’s A Thousand Years in the nineties. In fact, much of the resilience of this form of art has been its versatility and its ability to adapt to the shifting winds of modern movements. With the turn of the millennium, however, there has been a veritable boom in olfactory art production around the world. On the one hand that may be thanks to the myriad new possibilities engendered by recent technical advances; on the other hand that could be attributed to the sense of isolation and disembodiment brought on to our lived experience by these very same technological shifts. From Times Square, New York to Alexanderplatz, Berlin; from the Venice Biennale to the Biennales of Thessaloniki and Istanbul; from the Stedelijk Museum in Amsterdam to the Shanghai EXPO; artists of all nationalities—Korean and Japanese, Czech and Belgian, Colombian and Canadian—are creating olfactory artwork that is as diverse as contemporary art can be. This paper aims to outline the theoretical and historical backgrounds of olfactory art and to propose ways of classifying its diverse modern practices in an attempt to better understand its trajectory.
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