Visual arts Why art matters Creative aCtivity in the virtual world the point of art fashion and art why we make art
iq
Intellect | publishers of original thinking
1
2
2
2
2
welCome
Editorial Sarah Cunningham, Illc
T ia at a ca t dai, c ca a a tii, t cat at t a cditi. We are oten skd ‘hw ds Illc ciu ublish s my w bks d juls?’ My sw is h Illc is lucky ugh ublish i subjc s wh h g cdmic quiy cius ich d gw, gw, vidig us wih vib d xciig ids d gic cmmuiy. My di ms d scs h visul s sd i u li – imi, shi, hghy, dcumy, duci – bu h lis is by m s xhusiv d h is sill ly sc gwh. Hwv Hwv,, gwh i h s is hd by h cu clim usiy: w m h v h is d d d ss why ms. as lquly gud by h cibus his mgzi, h myid ss why ms vs d mulicd. th visul s cssy ush b udis, cug w wys hikig, clb lm h hum cdii. th imc h visul s is jus dmsbl i h idusis h hy d d su, bu ls i h clssms, cmmuiis d culus wihi which hy ixicbly mshd. a Illc w csly isid by u cmmuiy uhs, dis, viws d ds d hi cmmim dms why ms.
3
artiCle
hE point of art Jonathan Day, auh, Robert Frank’s ‘The Americans’: The Art o Documentary Photography
tHe poInt o ? Wh kid qusi is h? Whil u bs hilshs iig u h wul dierence i u iis h sm bis culu (lgug, , c.), is’ i uil, i idiic, hik w c sblish h i yhig? Shll w s? th cficig vics vywh. I wd whh w migh lk sidwys sidwys lil d sk u his my-sidd mysy, mysy, hldig ll is civiy sill h slighs mms d hby dig sm hmy i h cymblclshig di? I’m gig s h bgiig. W liv i h ‘md wld’, myb i’s ‘sumd’ ‘smd’ smhig lik h. S l’s s wih mdis. Kl Mx, h mus scilis hik, hik, sw h bsics hum li, h lly im su, s i, w, w, d d shl. shl. ths h ud is u livs, u ‘cmic cssiis’. evyhig ls – ligi, , music d hilshy – is ‘susucu’ ‘susucu’ blcd ciusly . I yu’ sugglig cc his, y cmig h wlh ms iss h wlh ms bks. oK h, bu suly chdl, Mz’s Requiem, picss’s Demoiselles d’Avignon hs b m h jus h bubblig h suc d? th ld wisdm, ll, sys h ‘m c liv bd l’. I hik h ld wisdm is lkig bu lv : h s gysis S, xml, cy iigs sculus i 4
hi iy, cwdd bs. Mx ds’ lv i h, hugh. a ll, gysis musly sig. pl divd y cmic w, w, dvg, c chigly buiul ls smhig b. thy sig u h wld: lc wh vy is wid m hi ys d hi hly hlis cis ‘vgc is mi’ hi sss. Mx ss hs cis s h ‘cy h ssd cu’: cssy fci d ci u--ji wld. H uh gus h wh dm cms d ssi is lid, ligi d ‘’, lg wih ll h ‘is’, will b dd m. S, ds his big us udsdig? I hik idich nizsch c hl mv us . H dscibs s kid ‘cy’. Lik Mx, nizsch ss culu s schizhic, biucd, bu , his im, bcus cmics. H ss isd wld lld wih bld d lh, d i h d clw. H ks h m Diysius, h asi/Gk gd wi, wildss d dbuchy, d lis i h . this ‘Diysi’ wld is much us hums b, h gus. W d sc, smwh u . H ss higs lik Gd, y, music mic lv s y illusis, sdy hls i which hid m h cg. H ms his wld ccis all, h Gk gd y. nizsch w sill cus ssi, bu his im ssd by h ubbl buliy u wld. a is u ic m buy u hds d g.
Wll I hik w gig smwh, bu hs dk imgiigs, ’ hy? Wh bu h lvly iigs u wlls hm, hmy i m d i? Suly sm is guig s simly smhig buiul d li hcig? Guillm allii is my vui. H ws id d mg picss d h pis schl is. H blivd h iss l wh c ‘cgiz h symbls wihu which humiy’s divi viw h uivs cllss wih dizzyig sd’. alg wih Mx d nizsch, h ss s kid visiy wvig: s cgizig d sig mms h hl us cmhd u mysis. H lis hs visiy sis h lvl h divi. S much h h l wih d ly wy-s cuy, hugh, hs siglly hig d wih h divi. W hv bk bds lld wih cdms, sl i md bld, ig m by fis, which h di, d m hug by his bldig v h sg m his w sli wiss. Is h diviiy h? rlly? B w bcm cmlly mid, I hik h hilsh Gg Hgl c hl us wih his cdici. H gud h i my culus, d ligi civly h sm hig. S h cv iigs Lscux i c, h mls Khjuh i Idi h Hbid Bk Klls c b ickd i s s h s ‘ligi’ d ‘ ’. oc ligi d bcm sd, s i u sciy, wih h m big h cc hlgis d hilshs, h hiks h lss
At, tia, ad at it. is scil w d sigicc. Chls Schi vidcs his lss wdully: i his ‘Ssis’ xhibii, h ly hig likig h vius wks disly ws hi iy. th u d us h im hd bcm s uci, s csd, h h ly su wy cgiz smhig s ws s blid ws hdli skig IS tHIS art? Qusiig is u iiclly scud i s such. Hw did his h? Hw did iig d sculu bcm s divcd m scil us? th fg w u, I susc, wih h ly wihcuy ch is Mcl Duchm. Wh h lcd -h-shl il bwl, sigd wih ciius is’s m, i glly, h md cc h i s h ci ‘is’. His ii my hv b iic, bu h hlss icd h s–rissc eu lvi ‘iss’ m ymus csm i clbiis: i s is ‘is’ (d h smhw di d scil) h whv hy d is cssily ‘’. th dy ccc which llwd h êig Du chm’s jk ld, ivibly,
gllis lld jus wih billic d wd, bu wih h mud d ilss, cud by l vly ccd wih img, sii d shi; i sh, l dly id ‘gig i’ (v wh h ws hig ‘g’). ev m sid cis w u, vy shuig ‘ is v h’. pl usid his isic wld culd ly lk , cusd d bwildd. By shisicig i h i icmhsi, hs csig vics wv imbl wll ud ‘’, s h blids bcm, my l, h bis d lblls. a, ssilly, hd isl. Iiclly, hugh suisigly, his ml hs suld i chm, s is i s sis scilly mdid cics hs gw. a udic id hdlis, s pr, hllw iusss d bld, sms m d m cd dmsis c skill d dxiy, i s diilly cgizd s chcizig h ‘is’. Gllis i my w w lld wih dwig, iig, xils d cmics, msly dd wih gui. I wy, his is h l divc, mvig m h c u wld, s h ci dms d siis, m lss y dmsis h msy mdi, dig h cgii h ‘divi’ symbl h l dci. S is h i? Wll l’s ish wih ls vic. th i pi Mdi cd sm vy mus highly-bscd wks. Mdi sigicly dicd h lm, lvisi d hghy wuld lc iig i h ul imgii. I yu d his, cm h umbs l ssig hugh h ds h gllis wih h umbs ssig hugh cim bx-cs, subscibig slli bdcsig. H blivd h s l ud wy m hy wuld u h hs. I w my bk Robert Frank’s ‘The Americans’: The Art o Documentary Photography bu Swiss hgh wkig i amic i h 1950s. k’s wk cis billi d smil hghs h mbdy xcly wh Mdi ws lkig bu. tk gh, his imgs h s h s dscii d lysis I’v v s amic, h dmi culu h wld i which I ws b. k’s bk hld m u dsd mysl, by cmig udsdig h wld h md m. His is sluly lcd i h discussi bli d mig, hsly cdig d xmiig wh h sw. nw hs m h y im sic i ws ublishd, w d his bk. I is mi, fcig visi d wisdm bck us m u gi’s miv dys. ‘ths wh ig h s dmd is misks’, h ld wisdm sys. I hs dgus d dicul dys, w hv d wks h hl us udsd wh w , wh w cm m d wh w gig. Sm migh gu h his hs lwys b h i . rEad on…
Jh Dy | Bimighm Ciy Uivsiy auh: Robert Frank’s ‘The Americans’: The Art o Documentary Photography , ISBn 9781841503158
5
artiCle
CrEativE aCtivity in thE virtual world Eli Ayiter, edi, Metaverse Creativity
In HIS BooK Exodus to the Virtual World, cmis edwd Csv dics migi, csidbl is, m h hysicl lm h dimsil, li syhic wlds wihi h x w dcds. th icid ucm wuld b dmghic ldslid sigic ugh scicmic imc csiu d cmllig chgs i liicl, scil, culul d cmic sgis, ly i h viul bu ls i h hysicl lm (Csv 2007). as sd disc, wy migi, s wuld b h cs i uli shis i h hysicl wld, h icid migi wuld b ciuus u, wih migs swichig bck d h bw h hysicl d h syhic wld. I, duig his bb d fw im llci, m d m hus civiy bcm id by h 6
viul wld h h hysicl wld wuld su h csqucs, imily hugh h lss vu gd by h csumi (hysicl) gds. Hwv, qul imc wuld b h lss is d i i (hysicl) sciculul ccucs, vs d licy. By lkig h cu hlh idics viul cmis (h igs which c dily b sld i hysicl cucis such s h US Dll) Csv dics h i sucily lg umb lys mig viul sus h h csqucs hysicl cmis, d by xsi sci-liicl sucus, will b wul ugh isig udml chgs i (hysicl) ublic licis s wll s -xmii/ -dii (hysicl) sciculul mchisms ll v h glb. uhm, Csv ss his s m h likly ccuc wh viwd wihi h cmic hy hum im us, h llci i d h civss viul wlds wihi is cx, s wll s h gwh i h gmig idusy culd wih h mgc ubiquius chlgis. Sic civ cics ixicbly iwid wih h sciculul miliu wihi which hy fuish, i wuld llw h vs chg, ly i ms h cul civ uu isl, bu scilly d m imly i ms h cxul miss wihi which his civ uu is g d, shuld ls b xcd. Mlclm McCullugh chs h css viul civiy hugh xmii h viul mdium isl d h suig quims csmshi h his mdium bigs b u h civ csss ivlvd i h lizi viul cs. accdig McCullugh, idividud hum csmshi – m lgly vlkd by mdis d dsig mvms – is big, c gi, bugh vy much h by h ciis digil civiy. Whil h ssmbly li mchizd idusy dics h h dvl/ cciv h dsig bjc is ivibly mvd m h cul hs is duci; iss, by d lg, sm h v mbcd his disici . Hwv, dy h dc dii h digil mdium – wih is ucd s isigig lyul imvisis d is biliy duc my
. 0 . 1 h 0 2 o , y ® v l i L S , d n z c i S w s , 2 M e t x x e T M , u d i e r y u a s i s l i l e P , a L c © s : a s y g r m : s i s h i B a
viis d iis sigl c – llws fxibiliy uu h is c gi cig viul c cs h vy css duci isl (McCullugh 1996). Wh McCullugh’s bsvis culd wih Csv’s dscii h mchisms viul cmis h w d u cig md civiy h hks bck h dys b h Idusil rvlui; h c h c is ly h css h bu ls h mch his h w uu. McCullugh imvisi lys iisic i his css, d wh imvisi is ccd cmuil dvu hs d isic dvg v is cu i h lgu lm. this dvg is mbddd i h vy mil dic bw h w: h digil vim hdls ‘bis’ s sd mil ms. Whil ms c ly b miuld ci dg b ‘mil’ ss bkig dw, ‘bis’ c b
sm h cius lis h sciic isums by which h is csucig his mdl. Giv h slidiy his ssssm ls, s wll s his cdmic xis i cmics d u blic licy, i wuld b imud gd his dicis s inormed dlibis. ev i his cgiis ly b il ui, humkid my d isl livig i vsly ld wld, idd i mulil wlds: h ‘syhic’ d ‘l’ simulusly. W my d uslvs i scil miliu wh h bulk cil im, i idd wk hus, s i sicl, ivlus, lyul d u civiy; w my d uslvs i sc i which cmic dmd d suly shd by ms h culy big gd i li syhic viul wlds. ruig ull cicl h dys h Idusil rvlui, dsigs d iss my d hmslvs ly ccivig bu ls cig d mchdizig hi w civ uu, d h
cssd, vsd d miuld i ily wih lss. Cmuil civiy hus bcms civiy h c ls b dscibd s ly wih ully vlvig bjc h c dlssly b imvisd u. alhugh wiig im dig h dv ully il mvs such s Scd Li®, which cs us-cd c, McCullugh is hlss w – hugh bsvig cuss h g such s SimCiy – h imlicis h hs ‘build wlds’ hv u ll digil civiy. H s h ‘h uliy hs simulis wihu xlici wiig cdiis my fc csiucy h ls susis lyul iud i duciv cmuig’ (McCullugh 1996). a h bgiig Exodus to the Virtual World Csv ls his d h c h h bk is sculiv u. Hwv, his ig
iisic dscis, uci d usg h uu my b vsly di hs h s dy. rEfErEnCEs
Csv, e. (2007), Exodus to the Virtual World , nw Yk: plgv Mcmill. McCullugh, M. (1996), Abstracting Crat: The Practiced Digital Hand , Bs, Ma: MIt pss. ExCErpt from:
Metaplasticity in Virtual Worlds: Aesthetics and Semantics Concepts, did by G. Mu (IGI-Glbl publishig, 2010). rEad on…
eli ayi | Sbci Uivsiy edi: Metaverse Creativity , ISSn 20403550
7
Q&a
At ca ai i t ac dat. Katarzyna Marciniak, C-uh, Streets o Crocodiles
8
. z d ó Ł n i y d n . i z w d y ó n Ł n n u i s S n k s w m k i s i s p s n s s g c n w u h y S a p o : h e c S I r d l o n i a a T e r A i , F i , k i k s s w w u u t l t i l i m m K K © © : : g g m i m i h g i L r
a pHotoGrapHIC StILL – micscic click im – c mv yu d sy wih yu lik huig. I ivis yu cml h w ci. I dics yu uwd, vlig slic h wld, c, fci i h mi, cuyd wshd i shdws; d i dics yu iwd, cmllig yu hik bu h cs yu suddly mmb, lcs yu hv l bhid. plyig wih yu imgii, i c duc viscl ss, bdily siig, by uchig v yu did v kw yu hd d disclsig smhig w bu yu u s visul big. pl us i ll kids wys: hid hl vluis; ici sis scil judic; h ighligh cd ijusic; ccl umsk scil xiis; simly g shic high. as viw, yu dcih h wy h mks yu l: yu c hs ligs d h vcis hy . a c vk, isi, disub; i c yu ys wlds h h yu w, , s hd i h cs hs wh mgd dw whil imisd auschwiz, i c k yu liv v i h c dh. rEad on…
Kzy Mciik | ohi Uivsiy C-uh (wih Kmil tuwski): Streets o Crocodiles , ISBn 9781841503653
9
artiCle
fashion and art: CritiCal CrossovErs Adam Geczy and Vicki Karaminas , edi, Australasian Journal o Popular Culture
G iss sic Budli w i csicy wih shi. (thd W. ad i Dswld 2006) WHen We LooK bck h wih cuy, im wh h lishi bw d shi fuishd i wy h i hd v d b, w bgi ic h cll shi ‘’s ii d ivlus h’ is glib, v mid iccu d ui. , sic h bgiig h wih cuy, shi hs lyd cl i ulizig . this is cssily m slly i h ss dbsig ul l, bu h m wih dissmiig isic mis mgs scil gus wh hv hd lil cc wih ‘high’ wh l ucmbl bu dlig wih i. Yvs Si Lu’s Mdi dss is cs i i: i ud livly scilizd is i smhig hushld m. ad i sms hisy hs d isl: h MtV awds, 12 Smb 2010, h si-ud s Ldy Gg ccd h wd Vid h Y wig m dss ccssizd wih m h. th m dss hd ldy b ‘d’ by h Cdi visul is J Sbk i 1987, bu his ws slighly m cmdu, isqué dsig. Kw h guchi, Ldy Gg hd chsd mdi sm. Cuiusly i h wldwid ss h llwd, mi ws md Sbk; h h s hd cm his h w ccd is ccivbl, bu ws h mssg h sm? Smwh: i ws ly s gis h Uid Ss md cs’ ‘D’ sk, d’ ll’ licy. u m-svicm d wm wh hd 10
b xlld m h md svics big gy d lsbi ccmid Gg h wds. a sg su gy ighs, Gg suggsd h h dss hd b h sm. Ws i h wk ? Wh is h ‘igil’ wk siid wihi ll his? ths qusis d, bu wh is ci is h h ii is l hd g m cdmic mss. I h wih cuy shi bcm cl cc my iss, wh udsd h vciv w clhig i cig idiy d sblishig hi wk s glbl ‘bd’. th v Dsbug, ld h D Sijl mvm, w blck sui d whi scks d i s h giv vydy dss. Ddis J a cd lb csums s m siil dss, d ady Whl d Jsh Buys imd d s shi ds: Whl wih his whi wig d glsss d Buys wih his shig jck d h. ‘th lk ws s im s h isl’ (Müll 2000). as much s iss w cd sil cds shibiliy, dsigs syld hmslvs s isic svs i m b lvd i h lm : cuui Chls Wh’s sl-sylizi mimickd h Duch i rmbd, ig wih simil blck skullc, d Jh Glli is dscibd s h ‘Dli shi’ i his s d chic clhig. ruig Sbk, h ‘cud f k sk dss’ is ls xml mig shi, ismuch s shi d dss b w, d, m yiclly, is . I his ic Sbk usd shi d dss s vhicl cmmuic issus h bdy d
. c m m C + a / ø b s d n u S v l ø S © : g m i h g i r
11
h mii. th udic d h ciic chllgd c cmig diis by skig: is h dss , ccul shi? Similly Sbk’s Magic Shoes (1992), i high hls hd chis, summs ss bu wm’s livs d h culu vicimhd. shi h bgis sh simil lgug wih , h ci h ‘dss’ d h ‘shs’ xis ly wihi h dmi isic duci, bu wihi sil discus h ds s ‘mbdid’ d miv cic. shi, wis J ewisl, ‘is bu bdis: i is ducd, md d w by bdis. I is h bdy h shi sks d i is h bdy h mus b dssd i lms ll scil cus’ (ewisl 2000). Whils ewisl’s cus is shi, h h , ‘dss i vydy li c b sd m h livig bhig bdy h i ds’ (ewisl 2000). a wihi his cx sigis bkdw is diil l i high culu d bgis cicul wihi sis migs bu csumi, ul culu d h vydy. ad lik mss shi, wih is ddc h wl syls, bu ulik , h Sbk’s m dss is ishbl, h ddis im. Iiclly, Sbk’s wk is w xhibid i ghsly did s isd hdlss shi mqui. I w hd i i, w hv sy h is sus s is svd. Bu sig i, w hlss md w h judics bw h w di cics d hw hs dics isbl m h dics bw scil mdliis s hy clss, gd, d csumi, s wll
sul, liguisic mwks h llw b d h h b shi. t sy glibly h is mbdid d h h is’ is ly hl h gum, d cu-gu h c smims b w ds’ sl much. d shi dd by, ihbi i yu will, u dibly di sysms, d i is hs sysms h d hm s sciv discuss. I h wds, shi d ccuy di mdliis si d ci; hy hv di uss d hy subjc di sss wihi bh my d dsiig cmis. thus h dics lss i h bjcs shi d , sic bh shic cis which judgm is lwys subjciv, d m i the places xchg – scil, cmic, liguisic – h hy ccuy. Sic Mcl Duchm, wh h hisy hs ugh us is h c xis wihu h lb cls h gis h viw h h xic i is di, idd smhig scil. th s-clld ‘Duchmi vlui’ divss h bjc ih mig d us i i culul c whs sus is cd ccdig dlic wb sigs d g ms; m h w mus v g h liv sciciy culu, clss d c, wihu whs cs, ici, vi, h xic is dimiishd i ulld. Wh shi sudis hv ugh us is h shi is vy scic hm h Ws d mdiy – k higs s d v, ‘mdiy’ c b d h i h Hgli ss shic hm i xisc sic h Middl ags, i
D ai a at t at? Ad d at a d ai? s h much wid i mliy: h vlus h ih i higs dmd m d i hs dmd hml. Wh shi is lcd wihi h cx h sc h musum d h glly, is vlu s cmmcilly div, mss-mk duc siis m ‘csumbl mchdis’ ‘ islli’. I quick sw, shi’s s-cd cmmcil l css d i ligs isl wihi w vlu sysm: i bcms d cmmdiy b cllcd. Whh ami privé vig gw, Dmi His islli, h budis bw high d ul culu w bgi y, s ‘shi sks ch isl h vlu sysm , s sks mv h sigm such ssciis’. a shi is ducd d shi css b ’s h, isd i bgis vi qul sus. th qusi, is shi , lds gum, cmli, whs wkss lis i ddssig h sysms d shi h mslvs. v cuy h dbs hv cusd h bjc d h shi im wihu lkig h cs12
which, gi i Hgli ss, hums bg hv sg ss idividul csciusss d gcy. shi, s discus, sysm d sudy, v wh i cis is dss, csum d clhs, is h d isc hisicl iy. this is much h sm s h id s civiy by idividuls scilizd gus wh duc shic bjcs xics ciicl dic vydy li d h sus q u. Bh m m scil cgui clss, cil d cmmuici h bgis i h l Middl ags d h rissc, id h sw shi wy m igid sicus ligi d gvc h sl-wshi, mbiliy d h biliy x chg. Lik my isl, shi d symblic gs, bu hi lvls sci di – d his is u m hw my gms dislyd i musum cx. w mus sk – bv d byd h di (lbi uv d vlig) s xchg d cssus i which shi d – ds shi lly w b ? ad ds lly d shi?
Hw wuld i b h ‘sysms’? shi uss i is hic, i divs culss y is idims d xssis m ( xml ‘cc’ d ‘islli’), d vis h sm d scil mic h is dd h s d high culu – chicu, music, h d – bu his, w wuld v, is shi’s u, mly mii vs d gisic lishi . Lik h vy u dsi isl, c h dsi is ssugd i is qulld. shi, h, migh dsi bcm , bu ‘kws’ h d s migh ld is ui, lik gms disly h vlubl b w. Im wk hs mgd wihi h ld shi sudis sblishig h imc chig h dssd bdy s ‘fshy,’ ‘siud bdily cic’ (ewisl 2001). Such wk hs dvcd hicl ggm i his d vidd scu gud m which xd xli h mbdim d dismbdim dss wihi musum cx. th si – sm us h wd ‘subli’, h clumsy sli h Hgli ‘auhbug’ – m vydy discus is ssil (h is lc bgi discuss ’s -li gism h wy h his si clls h (Hgli) ‘d ’ hsis), bu shi ds b mbild i vydy discus. ad hi lis h cdil dic bw shi d : hi lishi im, tim. Qui Bll lquly sums u his disici,
whil ls highlighig wh Gills Livsky clld h ‘highly blmic isiui’ shi: ad y ‘shi’, bcus i imlis chg d mubiliy, suggss smhig ivlus d icsidbl. a judgm bsd u shi is l b lss ubl h bsd u hs l vlus, hs duig uhs which, s w lik sus, w c ll cgiz d i h ligh which w c lg shibl iis hi d ii lc. ‘I is shibl mii…’ – such bgiig llws us ici h h sk will s smhig m m h shi. a shibl is is cily wh will bid u judgm. Such ssumis my b, i c cily , u; hig is s ml s shi, no ower carries within it more plainly the seeds o its own destruction ; h ly ubl is h wh w sk l viis gis which w c msu h shcmigs shi hy my b h hd d. Bu i i cdmig shi w imly h i is h duc lighwigh mi d h c sily b disgdd h w my ll i vy gv . (Livsky 1987: 4, m hsis ddd) th vscc shi vsus h lsigss is h l sickig i. ev shi clssics 13
mdcius, s hy mly mus h dii-d d udd, s lg s hy hv idibl ‘c’, such s Lvi’s 501 dim js. Bu his is xm. Bll s sbig cciv. Vbl d hs sk high siiul d s h suc shi, which is ls h suc . I my b s h my illcully d siiully fc h d, bu shi c mily sisy i, d wih shi i c b m sily idid; l lilly w i hi slv. B w g y uh, i is cssy glss d shi ccdig h hilshicl mwk h cc syl. n h wd cc is s ciicl h vl. I is ls wh ds bh s sysms wihi h ws hs. h bih shi s disc id byd h xdis m clhig dss is cmius wih hilshicl sl-csciusss c. t hv syl is ssss diiig d ssumdly vibl bsc, h is, imlbl quliy. Y smhig b sylizd is b igid d k h i ll bcus is lck ulss. ad smwh bw hs w cdis lis h cmlx d wdul dx h uh c wihi d shi: syl is suddd, , dsid quiy h is ul, bu which ssiss i smhig’s cmig--c. W w clhs, cv uslvs wih u ski cds d cis i d us b s hw w uly . eqully, is imssibl wihu syl. th is such hig s syllss wk . I is h cc si: h disi, h mduli h mks smhig icbl, mks i u, m idibl, d ich d m cmllig h sic higs i h vydy wld. Bh d shi s w kw hm bugh gh wih h dvlm h id hisy. th hisy bgis wih h hisy syl. this hisy is ls bugh b u h hisy syls wihi shi. Sic h 1980s hisy hs udg umus ciss d visis: smdiy, visul culu, w mdi d w h dubius cch ll ‘cmy’. Such shis d ciss w mivd by vid chg i h wy ws big ducd d hizd. th c hisy ibud Gmbich – h bwd is jcy d sig hvily m Hgl’s Aesthetics – d ulizd by h nw Yk ciic Gbg, ss s cssi syls, ch blgig s blis, mivis d culul ccs. psmdiy cgizs h , s dilcicl gssi, is ih ls lg lv. th (chig tyb’s his h is d ll civilizis), gis, g d dcli, is lg bl bcus h is lg cc g syl. Blis d iss hv v b s dis. Hc h ‘cmy’ s w kw i i is hm cmlx muliiusss. th sm, idd, c b sid cmy shi. Mwhil h is lwys smhig l hgig u h, h lizig ibiliy ‘hvig syl’. this is h xcil, i myhic, quliy xisig usid im. G is xcd scd h lims is hisiclly-cicumscibd syl, sk h g is i vius wys; whil 14
sm hv syl is hv Je ne sais quoi h is iducibl h mil lms w h bdy. nih h, c b bugh, gmmd, dicd , ls, xcly dd. a his i w migh sy h d shi chs y h msk is uh. Hc h chmb mis dic d ii h is cmy d cmy shi. shi isl cius b d by h bush cmmcilism, d wh h wd ‘shibl’ is usd i cicls i h s idly jiv dg. Bu i is ls u h h diusi dmic h is xicig i h wk glblizi – ud h h quivcl ubic ‘th Cmy’ (s i is usd i cicls) – hs m h h wvs c, xsu d is hv cm, icsigly, smbl h mdliis h wy h shi---dy sks dii isl m wh cm b i, whil ls hvig ugh sc ciuiy. I his clim, wh shi hs v is wh ad, wih dismissiv iy, clld h ‘jg uhiciy’. Wih shi, uhiciy cms i w ms: cdibl lik is mk, d s liks i h hisy gssi, wvs icul dcy, lk, syl. Wih , uhiciy cis much m gvis d h s vs humiy’s sch uh. this qus is b dcid, bu w wuld dcy i i di wy wih gd shi ih. ad i h b sc h sdd uis msu, i h c h ‘lgiimi ciss’ h mkd smdism, w cd wih livism wh h msu quliy is uv mixu cssus d cvici. t us, hs cicumscs cmllig: h id h shi sysm hs s much sy bu , scilly cmy , s i ds isl. rEfErEnCEs
Dswld, Chish (d.) (2006), Double-Face. The Story about Fashion and Art rom Mohammed to Warhol , exhibii Clgu, S. Gll: Musum h as, Musum txils, Musum Hisy d Musum Cmy as, . 20. ewisl, J (2000), The Fashioned Body , Ld: Sg, . 1. ewisl, J d Wils, elizbh (ds) (2001), Body Dressing , oxd d nw Yk: Bg. Livsky, Gills (1987), The Empire o Fashion: Dressing Modern Democracy (s. Chi p), pic nw Jsy: pic Uivsiy pss, . 4. Müll, lc (2000), Art and Fashion, Ld: thms d Huds, . 12. ExCErpt from:
Fashion and Art (Bg, 2012). rEad on…
Vicki Kmis | Uivsiy tchlgy, Sydy edi: Australasian Journal o Popular Culture, ISSn: 20455852 auh: Street Style: Shanghai , ISBn 9781841505381 adm Gczy | Sydy Cllg th as, Sydy Uivsiy
artiCle
why wE makE art Richard Hickman, auh, Why We Make Art & Why it is Taught
. n m k c i H d h c i r © : g m I
I WoULD SUGGeSt h vy, h is ll hum bigs, hv i cciy d dsi mkig . Hwv, bcus ’s ccul sliiss d h c h i is s dd u culu, such suggsi ds quliyig by kig vy bd dii wh is m by mkig . amgs h l I hv lkd wih bu hi civ dvus my wh d csid hmslvs b iss, bu xhibi ll h dcis h iss disly: ssi dsi c smhig h lks gd d ls igh – smhig h hs icul sigicc, whh i b bihdy ck, gd, hisyl. I such civiis, iuii, xssi, skill d csidi shic m – ll ibus isic civiy – csidd im. Wh vy ds is h uiy c d, wh h ccsi clls i, c smhig shic sigicc: h is, smhig h hs mig h s wh cd i. th m h I h is ‘cig shic sigicc’. ‘Cig’ bcus h wd’s sscii
wih civiy d ivivss, ccs h hv icul sc wh lkig bu hum dvlm. ‘ashic’ bcus w ccd h wih h sss. ‘ Sigicc’ bcus his is sscid wih mig d ‘sigs’ h highly xssiv d ivi i. I m w y culu i h hisy humkid h ds c shic sigicc. I idividul s hs dmsd h biliy dsi c smhig shic sigicc h is bcus lck uiy. th ug c shic sigicc is cilid hugh , d wh h uiis gg i -mkig civiis h ug is misd i h – lwys siiv – wys. rEad on…
richd Hickm | Uivsiy Cmbidg auh: Why We Make Art & Why it is Taught , ISBn 9781841503783 d Critical Studies in Art & Design Education, ISBn 9781841502052
15
artiCle
who CarEs about ComiCs? M. Thomas Inge, assci edi, Studies in Comics
CoMICS oCCUpY LeSS d lss sc i wss i h Uid Ss hs dys, d v wh hy hv g w hi w, ch si is s ducd i siz h ld ims hv squi d hm. Why d’ w giv hm m sc? ths us ccuy w scds u im, b u wh d wll hy c u smil u cs h dy, d my b smhig sick h ig d hs jy. W shuld su cmics. s lg s w hv b cdig u hisy, l hv b llig sis d jks hugh h cmbii wds d icus, d ms is hv hd dii squil iv d cicu. I ws uil lil m h hudd ys g h amic ciss bg
cmssd im; s i mi icus, visul dvics such s cuig, mig, cls-us, d mg usd by h cmic is, d sigs c g m h lisic h sic. Whv hy sh wih h h s, hwv, hy di i disic wys h ulimly uiqu. hig, cmics dd blcd cmbii wds d icus: h ddig h h mximum c. Wh h blc my b, hw much x is much, d whh yu c hv cmics wih wds whsv qusis sill db. Ws Prince Valiant, wih h iv d dilgu bh ch m, simly illusd mdivl mc? Ws h wdlss Henry lgiim cmic si? Wh bu
Cic jt cid. duc hi w vsi his disic m i wss. I cm b clld h cmic si d wuld i millis ds h wld v. alhugh w hv cgizd h culul d shic vlus h cmic si, d is h cmic bk, h im hs cm ckwldg h hs hml ms im, lhugh id ch d dsigd b hw wy. rh hy sigic u hig b chishd hi duig isic d scil imc. Svl ublishs hv cly udsd his d issuig hdsm, hdcv cml-cllcis such sis s Peanuts, Dennis the Menace , Dick Tracy, Terry and the Pirates , d Gasoline Alley . Cmic hs much i cmm wih h ms liy d visul xssi i h md wld. as i ci, h lms iv, chcizi, d sig im, d s i y, ids mus b dvld wihi vy sh dig im hugh symbl d suggsi. as i dm, sy icid mus b sgd b u ys wihi bx-lik m d wih sh limiis dilgu d 16
sigl ls lik The Far Side d Family Circus? Svl ssil us disiguish cmics m h ms. xml, hy i dily wss dlivd hms d h vilbl y hushld mmb y g. nws dis h k cul b su csiucy is dd, smims diig big qusibl si, which usully licis l w cmli h di skig why h uis ’ uy ym. this kid diig quly hd h liiclly id Pogo d cius h Doonesbury . Cmics hv b liiclly ssiiv, bu h bs h v ushd budis by ig vciv subjcs wih suci skill d humu. Dsi ully hld i, cmics w v jus child. ah disiguishig u is h cmics giv us s cuig chcs wih whm w bcm cquid v im. rds gi cumuliv miliiy wih h chcs’ sliis, which ssilly mi h sm hughu h liim h si. as i much humu, sck sy chcs cmm, d mulic ii is
hs chiqus h ms mk us lugh (s i Chli Bw’s ul usuccssul m kick h bll h ld by Lucy, digm xisil usi). Wds usully sk i igul vls clld blls: chiqu h dscds m ly illusd bdshs d liicl cs. Bcus limid sc, dilgu is k bslu miimum d h jk sy is ld wih h ws wds ssibl – csidbl chllg h wi. Sic suds ssibl, cmic iss s h ic dvic mi, d whil my diil wds such s ‘slm’, ‘bg’, ‘sck’, ‘bum’ will sv, w wd cigs hv ls v cssy. thus cmics hv ichd amic eglish wih such cibuis s ‘ww’, ‘wh’, d ‘zwi’. Whil w c discuss cmics i such gl ms, i is ls cssy bsv h hy ichly divs i syl d c. Syls g m h u sy d sulism Calvin and Hobbes d Krazy Kat, h shi-l Rex Morgan d Mary Worth, h giy dils lism i h
m ciy ss Dick Tracy d Spider-Man. th c mbcs ll gs ud i ci, dm, d lm – dmsic cfic, siui cmdy, w, h ws, dvu, sig, cim d d ci, h wlds h child d g, h ssis, iml bls, si, liics, scic ci, sy, d h bsud. Jus wh w hik h c b hig w, smhig lik Pearls Beore Swine cms lg d mgiclly chllgs h xisig diis. th wy-s cuy is im i which ms h imi w d is cvyd us visully, by wy lvisi, lm, ipd, cmu sc. Cmics h, d h l dvlm h ghic vl, dmibly suid vid l wih culul xic h is bh milly d illcully sisyig. Wih cmics i hd, w will mi vblly d visully li, d hully lil m chul d hum. rEad on…
M. thms Ig | rdlh-Mc Cllg assci edi: Studies in Comics , ISSn 20403232 17
Q&a
T ia at att ca t a at itac, cati ad taati. Teresa Torres de Eça , C-di, International Dialogues about Visual Culture, Education and Art
rEad on…
ts ts d eç | Iil Sciy educi hugh a (ISea) C-di: International Dialogues about Visual Culture, Education and Art , ISBn 9781841501673 18
. 1 1 0 2 , c j p n i c u d e s a s i l g n m C . l u p S © : g m I
19
20 20
publish
publish with us Illc is idd cdmic ublish i h lds civ cic d ul culu, ublishig schlly bks d juls h xmliy u missi s ublishs igil hikig. W im vid vil sc widig ciicl db i w d mgig subjcs, d i his wy w di m h ublishs by cmigig h uh h h ducig bk jul ll g i h mk. Illc sks ubisd lm quliy ciicl db; w cmmid sig h uh’s vic uhiclly, wihu imsii u sl ids iis. m imi visi us li: www.illcbks.cm 21
21
artiCle
why doEs art mattEr? Pat Francis, auh, Inspiring Writing in Art and Design: Taking a Line or a Write
WHen aSKeD tHIS qusi, h immdi ss is s lis sws. I hik his…h h…d… Bu cully h imc his qusi is h qusi isl. n h sws. th sws will chg hugh im, d di idividuls, d vy wh sd is is, bsv, ciic, udic c. My suds sudy g d dsig sub jcs, bu s wi d ch I hv ud h h ky simulig hi wiig is h skig qusis. th ms sws, h hughs, h liss, h scibblig d gums h su, s h li fciv juy h, i isl, jusis h xisc . I is lwys bu wiig ‘his is his’, ‘h is h’ – sig smhig i s. I is bu h yig udsd, h wiigs, h umiis, h hikig u lud, h wiig d kwig wh h d h sc is gig b, wh, v i i is gig b ‘’ sc. ad h smhig ss h, dm wd cms mid, wis isl, d h is isigh. I is bu h wiig hd qusiig h dwig hd: mhizig, chllgig d mmbig. rly ds his sul i wld-wd wiig, s-clss hud ssys, bu i is bu fciv mbligs h much m xly d schig. thy s i mul, syl m. I is bu sig wh h li will g, sig wh i will k yu, wiig wihu kw dsii. ths mbl-sm iis my wll b md l i ublishbl c, lucid viw, h gms bk, icl, h sds sm ci, bu hs wd skchs h h wh is: ms bcus i is bu xlig big liv. th subil my bk is ‘tkig Li Wi’ d i h wdly h l wd (wi/ igh/i) d i h c pul Kl’s xhi iss, I s u my ich bk wiig imd d dsig suds, wi isi hm i, d hugh, wiig. thy hv cm cllg uivsiy sudy d dvl d dsig skills bu quly hy hv hugh bu h wiig hy’ll hv d. essys, dissis, sms, s, juls… Hid, my suds giv u: hs h i, d ms wy. o wi m h c hl is h fciv 22
jul. K gully, ughly d lgsid h d dsig wk, i is lc hughs, ids, ms iculi, cis sch, mmis d ssciis. I is civ i isl d jus ch. o ssssd i h jc ui, i ds b cl , d cibu , h process h jc. Givig viy cicl mhds, u sks, xmls, d usig cs civ wiig chiqus, h bk is vcm bis wiig. eximig wih wiig i di vics, lkig yusl, qusiig d swig, iviwig yusl, dwig h juy jc b ddig wds, cig sh wi ic ( lilly bu ccully), hs sm h visul wys mkig wiig l h wk. ad wiig bu wkig d ids, hughs d ligs hls us discv why ms. Wiig fcs d ushs us byd h suc, bhid h mi img, d cugs us cm u ids d uslvs m di dicis, m h is viw. My iss hv mgd lucid, hugh wiig, uh hughs sulm, cmlm, d dd iis hi visul wk. Sm w, , g chs; hs q ui iv idividuls wh usd hi juls qusi h ukw, chllg hmslvs d giv hmslvs ss dig smhig, wh hs h wk sms dicilss. Jh Bg, pul Kl, Vic V Ggh, Js Hm, id Khl, tcy emi, d my hs, hv usd wds xli why ms, why hy wi, why hy c d why hy sk why. all sk juy: h sws s i blck d whi, cmd i, blckd i, immubl. thy my wi, s I d, ‘I dy wh c I climd; I w udsd wh c ws icmhsibl; I ccd wh c I ddd; I s wh c I culd l; I cdic mysl…’ ad i wiig h, I liz h h is wh ds: w chg, w g, w gw, w shik, bu w lwys mv. W -viw, fc, -fx. a is u juy. rEad on…
p cis | Uivsiy h Civ as auh: Inspiring Writing in Art and Design: Taking a Line or a Write, ISBn 9781841502564
At att ca it i at i i ai.
23
artiCle
visual art somE fundamEntal issuEs Harry Jamieson, auh, Visual Communication: More than Meets the Eye
aS a non-VerBaL suc imi, h visul s – disic m h vbl d liy s – cy hi il mily hugh cul ms, wihu s diciis d mlizd g mm. Bh h viw d h is-s-c ggd i mkig ‘ss’ visul imgs, higs bsvd h d cy clly dd wys ii. Whs h is-s-c hs h ml d hysicl sk gig h s h mk u whl, .g. iig, which bcms ig h sciv viw(s), h viw hs h sk civig h lishis bw h s h mk u h whl. him, h , i is css mid, d h us i is illcul civiy. Dsi h lck mlizd gmm, such s h wh ich udis vbl lgug, s viws w csly clld u css imi -vbl kid. as si bigs, u cci wih higs usid u bdis is imily cul. Glly skig, i is cd culul cds ii. alhugh i mus b dmid h culul ifucs b u ci i my wys, .g. cusig d iig. as si, s ig h visul ss, c b s ssss h ssibiliy cyig imi h di lvls. isly, h shic, h m h b h y; scdly, s ic, h biliy sd s mh d hby mig i h vbl gis; d hidly, s si, bigig mid, by viu lik24
ss, ml icu lc, hig s. this uiquss, which is giv h vbl, c b udsd s ssil cibui h lc , ly s mil misi bu ls s chllg h viw’s ws ci d cci. S i his ligh, ms bcus i c cll i ly wid sc si d ii h h which is giv by h vbl. S i ms imi, hs hld scs visul dms h ggm wih cic d viwig s ich bs h ggm mid. I is his ggm, s giv ci, d h cci, h w d xl i m dil. m his kid ch w bcm w h limiis judgig mly h bsis is civ il, which, by h wy, lis h c h i is lss csid by uls h h vbl (which hs sblishd gmm). d m h ighly sicd cvis, (lhugh i mus b dmid h s cic is ily m cvil ms si) s -vbl m si lds isl m dily idividul ivi. th wk V Ggh d Cz gd xmls his siy. th i h is h s m visul si c b m idividulisic, lss csid by uls d gulis h h vbl, d hus m llid m’s ul s s gh ssy imi. a ms bcus i is s s ‘x’ bu s xsi u si d midul big.
m h viw’s sciv i clls u sc sch css visul img. I ms imi hy, i mus sch imi. Such sch my b g uidd by vius xics xcis. Hw his sch is cid u lis udml c: h wss dic. I is h h visul cuiy ks c sg, h is sy wss h ‘dic h mks dic’, h budis h llw mig. I is h h w c s h uldig shic cii, d, s such, h cssiy h kid lig h cugs such wss. this lds h sii h dic c b s s g imi; u bluly, wihu dic h is l uiy. Dic quis ls w lms, d i is i h sc bw hs lms h imi iss. I is i his sc, i his vid, h h mid lls h g, uig gh h which is s. this css c b dscibd s ‘i-mig’.
sl m. Wh dic similiy is ih civd iuid, h is gi imi shic kid. agi w cm bck h ‘y h bhld’ – cliché bu h w hv giv i g sigicc. th cmms bv cus ci: h ci dic d similiy isig m wss lms giv visi, d hi lc s sucs imi. Bu w c d glc h lc cci i u ssssm imi. a icully gd xml c b ud i h us imgy i , which, s ic, is idd vk icul ss m h viw. H is l is h mh, i which cs h is bs . Whil h img is h b h y, h viw is clld u duc, m mmy, id img h bs sm sscii, icul mig. th is dic bw h bsvbl img d h ml img: ccul lishi is ud d his li-
At i aid t a’ ata tat a a at iati. th mu imi gid, d h w will us h m ‘imi’ i h civ ss s h ducd hugh wss dic, is sub jc his cssiy. Wihu his wss, wihu his biliy disiguish h ig m h, clu, m h x, h is lil imi b ud, d hus lil gg h bsv s viw. this id dic s imil suc lcs ddd mhsis h civ l h is s c imi, s s wh s ll civs cs dsigs m wh ich dic c b xcd m h ily h s h mk u h whl. th wk Bs (1980) vids usul c hs wh wish xl m ully h i dic. His hizig dic s imil suc is sigic, ly hy mid bu ls h imlicis i hlds u cc wih . h us his icl i culd b xdd iclud c similiy, h i dgs dic. th im i is h whh w sk bu dic similiy bh qui h xisc ls w iis, d h h dic bw hm ds ih i h which is bsvd, ly i h mid h viw. By juxsig lms vius kids – xml, clus, s, c. – i ci lishis, h is ss uiis h viw xc dics similiis icul kid. th wk isl, w migh sy, bcms clys gizig/imig h mid h viw, d h mu imi i cis bcms -
shi bcms h mig h icul viw. Hwv, hs ccsis wh lishi is sblishd, h ic, s visul img, ils sv h us which i is idd. agi w my ic h imcy h cc lishis i u quiy i imi. I h cs ci h cus is u bsvd lishis, which xli h dic bw iis. Dic, s ldy sd, is subsc, bu md hsi. I is highd by visul cuiy, by scig css h sizs h hsi hs subl dics h vd h ixicd. I h cs icic imgs h lishi bcms dig dic di d, s i mh; i bcms usi dic, ccivig similiy i h dic. agi, i is subsc bu id bsd u c. I ih cs, cul ccul, lishis hv b ud, , i h cs h is s cii, b cd. rEfErEnCEs
Bs, G. (1980), Mind and Nature, Ld: . rEad on…
Hy Jmis | Uivsiy Livl auh: Visual Communication: More than Meets the Eye, ISBn 9781841501413 Cibu: Journal o Visual Art Practice , ISSn 14702029
25
Q&a
At att t i ti tat i t ati . Jac Saorsa, auh, Narrating the Catastrophe
why doEs art mattEr?
In tHe StrUGGLe h ivibly chcizs civiy, wh my smims sm uslss dvu is, i c, h ly hig h ms. Bcus I m is, ms, bu ms m hugh big vyhig h is yhig ls. a is h bgiig d d hum xssi: i is udml misi h sul, sy ld, vy’s sy. thugh bdy dis. a is i chiqu, i buy, i u, bcus h u isl sids d i shdws h sych, wh il hugh ils shi. a is i ssi d mi, i i d suig s much s i jy d lugh, i shck d disgus s much s i scuiy d lv. a is i h hysicliy ci d h ssuliy ii. I vids liv cis d bcms h ‘oh’ i lis bw liy d imgii. a is h ihsis h cicliy by which i is bugh i big. I ms bcus i bids m mid d s u idividul suls chc bd. rEad on…
Jc Ss | ts Isiu auh: Narrating the Catastrophe, ISBn 9781841504605 26
. s v n c n l i , d e k r o w e R . s S c J © : g m I
artiCle
thE EnCountEr Vince Dziekan, auh, Virtuality and the Art o Exhibition
. 1 1 0 2 , a M o M f S , s w o d a h S – a n a t n o F . n k i z D c n i V © : g m I
Upon a roUnD wd y, id gm w smll cus c, cmlmd by svic md u cu, d smll vssls ciig wmd milk d chislld mud w sug d by ly-blcd s. W mg gi h xsiv, glss-lid sc h cé wihu icid, ivig smll bl wih sc cig h sculu gd. essss e. d I: Djlig my wi, K. ou mig, dy, hd b cdid v ighig sil cmmuiqués. Iiil is, lik ‘I will b i S cisc i mid-Ju s i wuld b g i w culd g gh’ bcmig gssivly m -gid d scic: ‘I’ll -mil yu wh w i w’; ‘S, i yu mw …’; ‘oK. SMoMa. tXt ivl’; ‘aivd. Wiig i y by h mmbs dsk’. W sl, sig i h viw h s cimiclly b us. I’s lguid ly summ d s h sculu gd is uiusly my h mm. W dd hwis uiud cmsii h ciy skyli bv h gd’s lid budy: ucuis g mgig m bckd dmily gy sucs, bds d gud. I h gud, ssig u gis h imgiy icu l, gul gu – alxd Cld’s Big Crinkly (1969) – uivly vsds us
s w bgi si h bvgs bw xchgs wd d gsu. e. bgis cuig sy bu h ccsi h wh h hd gd m wih visiig Gm ciic. His syllig gly ims h miss usid big shd bw h d gd: m h vg h wd bchs, e. d his gus discdly lk s gu schl child lucly cgg ud Cld’s stabile. a dc ms ld discussi bv h hush ly-illy sifd cvsis d h ub ich h ss u m s lvl i h hwis isi scuy h clsu. a vlly qusis, ls d cugms su. Ci suds k h iiiiv sdig, icly s, h sliciis h guid, wh svs i chllgig hm ig h quliis h bsc wk. Slwly, sws m wih gwig vlum d cdc m h gu ciclig h sculu. I visuliz his udibl sm dscis s ‘g clud’ kywds isig m h huddl. th h l sucs h hg h blcig d, isd h x h sculu, m imvisd sch bubbls blck, blu d gy i which wds lik ‘ml’, ‘blck’ d ‘hd-dgd’ md. I imgi h is d ciic cvsig cls mv, cmmig bw hmslvs h 27
dymics ly i h sc siig b hm; h sk eglish hy xchg clud by hi sciv c d Gmic ccs. th lss’s dggy ulds. th sculu cius sd slu i h c such scuiy s ijcis u hi cus dscibig h shs is vius vids, giv scs d h shdws h il m h wi sus is mly ld lgs d uulig hlqui il. Cvsis u, s hy d. W ish u diks d dcid xl h musum. W immdily gvi h u, dw h ul ligh h iuss h ii scs h musum. W wlk bck d h css h h-f uss bidg gis u sc h Bill ’s Sonic Shadows. I l e. hw h chic Dil Libskid mlyd simil mils h viwig lm i his dsig h Imil W Musum nh i Mchs. (I mk ml : I wd i whil dsigig his ddii h Cmy Jwish Musum, lcd jus w blcks wy h h sid h Yb Bu gds, Libskid ws ifucd by his icul chicul u ud i Mi B’s buildig?) th sucs scillig ls iggd by h bcs h wlkwy cch h l- ligh ig hugh h culus skyligh, d, i s dig, s hmslvs m h vsiv whi ymiy hi suuds. nx, w mv h gllis shwig wks by Blgi vid is, Dvid Clbu. th, e. d I discuss chiqus usd chiv h xsiv mliy ic such s White House (2005) d hs cmis such s Jh Gd d Vic Bugi; K. xsss h c h buy d glss The American Room (2009–2010). e. hs cch his y bck css h by. W muully xchg sluis mi i uch h c The Steins Collect xhibii. K. d I ciu , diligly llwig h h ldig us hugh succssiv gllis shwig ssd wks by h liks Cz, ri, picss d Miss. Bu v s, my cuisiy is dw ixbly wds h chivl mils h cully gd i ssd shllw viis. Iim sshs vlig miiu sl iis; hi ms lld vfwig wih h bhmi ccumuli ly-wih cuy pisi siig ms d lis, wlls ild high wih y iigs. I ci css, iigs d bjcs h c b disiguishd wihi hs icus sc hi blck d whi cs d miliz i h glly wih sl-ssuc h sss hi duig lgcy mgs wid wld higs. L , uig u hl, I -mil i which h llwig qusi is mbddd: ‘Ds m?’ Ys, I imgi i ds. ExCErpt from:
‘th Wld Is evyhig th Is th Cs’ (ISea 2011, Isbul) rEad on…
Vic Dzik | Msh Uivsiy auh: Virtuality and the Art o Exhibition , ISBn 9781841504766 28
. 6 0 0 2 , w s J © : g m I
Q&a
At i a idi c ciiizati, ad a idi c at i t ia.
why doEs art mattEr?
art IS a buildig blck civilizi, d buildig blck is h img. th img ks m i budc di wys wih h sl us cmmuicig. Imgs lik h Chuv Cv iig i pis cmmuic hum li v 300 dcds g. Imgs lik Luks, aic mmy bd, ss culul diis m gi gi. o h ms susibl d sili imgs i hisy – h lhb – bld hums sl sch i visul m d cmmuic css gghic bds d cul us. Wh h img h wi wd is ubl m h illcul wll illicy, w s usig h ys imgs, such s hghs d illusis. Hwv, v hs imgs c sul i cmmuici blms, icully wh h culu fcd i hi dsig ds mch h culu h us. isc, duig kwldg-cquisii i scic, chlgy, giig, d mhmics (SteM), ud-sd yuh m ml imgs hi w culul idiy i li wh hy lig. th dds hm cmmuicig civly dcs wh h is lck culul sc bw hi sl-img d SteM imgs; d h c cmmuiciv icivss c b cshic hm d sciy. thus, Dsig Yu uu, mhs wksh, chs yuh mhmics usig imgs lik h nk cly sculu d gi. Imgs c chg h wld h b wh hy yild cmmuiciv civss, bu culul sc is ly cii such civss. Read on…
audy G. B | rssl plychic Isiu auh: Engendering Interaction with Images , ISBn 9781841504810
29
artiCle
CrEativity in thE strEEts G. James Daichendt, auh, Artist-Teacher: A Philosophy or Creating and Teaching d Artist Scholar: Reections on Writing and Research
Street art IS xciig d lv xml civiy h hs d u i ciis ud h wld. Islld i cx-scic lcis h fc bd culul higs, i is dubbd h h l. th c isllig his gd m my b cvsil, d y h cmmy h sus m succssul lcm uchs u sc h xic h shuld b clbd. I is ls wh mks s im d vil ggig wih u suudigs. a is culul duc, ivd d xicd by hums i icul im d sc. I c sv my gls d uss bu is subjc dii v im. this is cssy susii i d udsd h hisy, hilshy, ciicism d duci . Hwv, h imc s
‘ivsis’ i ciis (wh sm hv b islld i high umbs) hs ‘Ivds’ ciiqu h lg ills sud visul mklc. Udsdig h sl d scil imc quis sm fci h civiy h mks i ssibl. Dwy (1938) cud h ssc h -mkig css wih h ccs imuls, dsi, d us. ths h ids hlul wh visulizig h umb dcisis h is mks v im. essilly wh imuls is usd, dsi is csciusly slcd m liby imulss; d wh ci dsi is slcd wih mhd d dici h us is gd. this us c h k h m ishd ic . th civ css is md u my smll dcisis, bu us is im udsdig
In DeTermInIng why ArT mATTers, be sure To look CArefully ArounD you. d is sigicc i h wy-s cuy c b b udsd wh w xmi i s civ duc. ady Whl hld d wh w csid wh h ulizd McLuh’s (1967) sm: ‘a is yhig yu c g wy wih’. Whh i’s busiss, cmmcilism, jus id, is s much m h shic gm clu d li; s , i icul, is y hum cmmuici, wih ch h d wih u vim. S iss lik Sc Ivd ciully xd u Whl’s id wih uusul l: ils gd m msic i h sh vig vid gm chc. thugh hi lcm d 30
h lvc . th l duc is symblic h my dcisis d xics h w i is ci. S d is lcm is ci h md ui h dvld ud h wld duig h s cuy. th ciy wlls d ub vims csucd i h wih cuy s much h gss misd by s mdism. th Iil Syl chicu, mily ifucd by h Buhus chs d suds, dmiclly ld h wy w s ublic ic wih ublic sc (Dichd 2010). nw mils d dvcms i csuci llwd livig scs b bu il much m chly d i m gmic shi;
h us g lss d h bx-lik dsig vud by chics sugh k dvg sc d c livig ui. this ifuc is hvily s i h ub vims h Uid Ss, wh dciv xis w mvd d sciy ws l wih cld d li cgls: skyscs ml d glss smblig shbxs. a ciiqu by tm Wl i his wiy x From Bauhaus to Our House bllws h h lks wh wk i hs buildigs c bly ci hm:
s hv ddssd hs ccs, i ddii h chgig l duci, ssilism, d liics i h wld d byd. I dmiig why ms, b su lk cully ud yu. th civ d ciicl vic h is is wll k i h hs s . a m c g , is ciis shuld b isd uilizig k y d fciv csss hl us ll k ic u suudigs. rEfErEnCEs
evy child gs schl i buildig h lks lik dulicig-mchi lcms whlsl disibui whus. n v h schl cmmissis, wh cmmissid i d vd h ls, c gu u hw i hd. th mi hig is y vid hvig xli i h s. (Wl 1981: 1) Isd xliig, s iss hv cd gis hs dvlms. this is why Lwish (2008) ss s d gi s m imdism. th md isucu d livig scs i which hs iss hv gw u is wkig d hi is m scil ciiqu. Ulimly h g xim h ws mdism did succd d s iss’ civ us h vim wks h ublic m hi slumb. Gblik (1985) gus h mdism hs idd ild d h s sul his hikig h is wy msu succss, dmi sdds, mul wh wk is. rc dvlms i
Dichd, G. J. (2010), ‘th Buhus is-ch: Wl Gius’s hilshy duci’, Teaching Artist Journal , 8:3, . 157–64. Dwy, J. (1938), Experience and education , nw Yk: Clli Bks. Gblik, S. (1985), Has Modernism Failed? nw Yk: thms d Huds. Lwish, C. (2008), Street art: The grafti revolution, nw Yk: Hy n. abms. McLuh. M. (1967), The medium is the massage , nw Yk: rdm Hus. Wl, t. (1981), From Bauhaus to our house , nw Yk: Bm Bks. rEad on…
G. Jms Dichd | azus pcic Uivsiy auh: Artist-Teacher: A Philosophy or Creating and Teaching, ISBn 9781841504087 d Artist Scholar: Reections on Writing and Research , ISBn 9781841504872
31
artiCle
GrEat artists must bE GrEat EntErtainErs Gail Pearce, edi, Truth or Dare
I is suci cm h g dics cim wih is, chics v musicis. thy mus b cmd wih hiks. (Dluz 1986) art IS MY gug h wld: cu, s, uu. I c discv wh is im his mh, wh ws im h y – c ci llls h igil mm d dvls i, dwig u scs h hwis my hv mid hidd uicd. Hidsigh, liv sciv, d cmm i sm wy, ll uiis . evy im I wi ‘’ I s liud – h subjc is bd, h il bld vviws g – bu h hikig cid d/ hidd i ‘’ is wh h il cml ggm lis. nwdys I m sig bliv h g iss mus b cmd wih is. Hwv, g is mus sill hv h sgs ccs. I w s vy w higs i img, his is bcus w d kw hw d i ly. (Dluz 1986) righ w I m big dw i immsiv h, d icig hw iv i iciv wk is wh mks i wul. Lig d i ll-cmssig vim is bbly cls h xi32
c hm k. a w, icully h wk h vls cim, d v cchs h, is , cugs, h udic ici. Shwig s lm i glly givs h viw much m i wlk wy. Viwig s wb g us h isk llwig h udic sc by sigl click. Mkig islli h lis h udic ici i civiy is hw w ly wih d xli chlgis s h y dvld. th sk w is k h udic cd, which is ll h hd wh h i lv is s much si. ou lsu i udsdig h cci bw h cis w k d h suls h su is dic. I is ccd w d ms u sii s civ bigs i h wld. th ivi chlgy c hc u wss his dic cci. th usi chicl discc is ud. th lsu w migh k i iig sic wk culd b sid b m cbl. emis gg m slwly: im is quid. as xml u ud sh i ss d d m d s im, h iciv xic s i sis ic, d ddiciv wds hld. Kwig hw d img ly lis
h im h img quis, d his is liv h h img ws cd. W xc sd im lkig hd i h iig w gz is i glly: im wih h cwd dws, h blckbus xhibiis. I c i is xmly hd s h imgs bcus h cwds, d hy usully wk md i h s, ls 100 ys ld. rc wk, icully digil d iciv wk, hs smll glly udic ull (lhugh li umbs much high); i is usully much si viw bcus h lck ssig cwds, d hus much si sd im lkig wihu big jsld. th sc i digil glly s h iy h wdys, h whl, u dics sd lss im lkig, bsbig d udsdig. Kwig hw d img ly ls lis h mdium. I h wk is i immsiv h, ublicizd by wd muh, vi scil wks,
h by puchduk s much. I s h sm clus d dm discvy is. Whs Mirror, Mirror ld is l vi chlgy (cuig dg is im) d ws dsigd sigl us, h l h lg-scl discvy, h cwd ls, d h fsh mb xcim csi fc dy’s chlgis, m hidd, m kw, d hs ly s vguly udsd. My sis bsd dcumy hms – h vidc schd m dy--dy ws ims d h idisycsis hum bhviu. I 1995 J Cdi d Gg Bus Mill w cig The Dark Pool (1996), wh m ull bks d cs ld sis hugh sud iggd by dvics i h sc. Shw h s im i h UK i oxd i 2008 I ws uw h wk i 1995, bu h ci mysius vim, d sy b gussd, hs similiis Mirror, Mirror .
Theme pArks, gAmes AnD InTerACTIve envIronmenTs All quAlIfy As ArT. cul-lik sus dvls d lg udics cd, l m d discv sis hmslvs. Clus kid h disibud i h vim s h h udic c bgi udsd wh h mig is. tchlgy is usully hidd d is vidd s mig. Sdig im i h vim llws uh discvis b md; his culd ls b sid b u li wlds. a ly li wld ws Myst , ghic-dvu vid gm dsigd d dicd by h bhs rby d rd Mill. I cm css i i 1995 d bcm cd by h sy d h iciv sc discvy. I ls d cl bu dis s h s xic h ws vilbl: i ws sliy; i ws li; i ws dugs d dgs gm usig x h h img (idd, tim Bs-L ws ly jus sig h wldwid wb); h ws ss h w d discvy. I ws ccssibl ms usig cmu d sy, d h dmid is w wll disguisd ( Myst ws dvld by Cy (w Cy Wlds) d is ub lishd d disibud by Bødbud). phs s sul I md iciv islli h lid hidd sy d usd DoS gmmig d siml chlgis chiv immsiv sig mysius l mud d vg (Mirror, Mirror 1996). n wd I jy immsiv
es W. adms suggss h h vs mjiy wh h gm idusy ds is , bu ul culu: ‘a is uchsd i gllis by cissus, i is ciicizd by ciics, i is csvd i musums. I is sld i yshs’ (Clk d Michll 2007). Hwv, s m d m ys sld i glly shs, d is vlig wih h, dc d music, h budis w ly hv ldy shid such dg h hm ks, gms d iciv vims ll quliy s d h sccl h s ild vywh. Wh I w bliv is h c byss h sccl d k udic ichd, qusiig, d ggd. Reerences
Clk, a. d Michll, G. (ds) (2007), Will Computer Games Ever be a Legitimate Art Form? Bisl: Illc. Dluz G. (1986), Cinema 1, The Movement Image (s. 1992), Ld: ahl pss, . 12–13. is ublishd s Cinéma 1, L’Image-Mouvement (1983), c: Ls ediis d Miui. Read on…
Gil pc | ryl Hllwy, Uivsiy Ld edi: Truth or Dare , ISBn 9781841501758
33
artiCle
art and rEvolution Lauren Mele and Alredo Cramerotti, auh, Aesthetic Journalism
. d f h s a © : g m I
34
tHe MoMentUM o isus d mss cmmuici is v isiyig. U h dv y vil ccuc liicl cfic, h is lms immdi ci: cm h s ulld u d vs smd, uihibid, liv h I. o 28 Juy 2011, h egyi is ahmd Bsiy ws sh d killd by si i thi Squ, mkig him v 800 l killd i h vluiy uisig. o h dy b his dh h w his cbk g, b mkig his wy thi Squ ici i h gh vlui, ‘Big cm wih yu d d’ b id wk’ (el nshky 2011). a c b wul duciv c d isuml i skig chg ciicl hikig, wih h dv c uisigs d vs i h Middl es d asi w midd his cbiliy. Hwv, s l mbilizig hugh d ci is w; i c, hisy hs s his h im d im gi. Kzimi Mlvich, h lds h russi v-gd mvm (s h ocb rvlui i 1917) d h h sumiism, blivd h u m d siiv chg w scdd hugh bsci. a Mlvich ws
dii d i h sus i bugisi sciy. th uuiss w mivd by h bli h ml iviv hikig culd vk much-dd chgs i h scil d shic d sciy (Bwl 1991); idd d scil d liicl li c b sd wh lkig h Ili uuiss’ mivis. Hisy clly hs hbi ig isl; Kzimi Mlvich ws h s is ush scil d liicl chg hugh , d ahmd Bsiy will b h ls is chllg h ‘ml’ d gh dm – isid h sudi d u. Bsiy’s wk is w big xhibid h egyi vili h 54h Vic Bil. I 30 Days o Running in the Place (2010), Bsiy ds xcly wh h il dscibs: h lms himsl uig vy dy 30 dys, whils wig bdy sui h visully shws h chgs i his bdy mu d vils. th wk dmss h usi ‘uig d gig wh’, hs fcig his ligs bu h gl gss liicl chg i egy. alhugh h did suviv s h chg h hd b yig duig his li, his ic chs h gh.
ArT Is A reACTIonAry DIsCIplIne AnD Does noT exIsT In A vACuum. l cbl imsig w scil d, hugh his culd b d wihu diculy; Svi uhiis cscd his iigs yig scil liis duig sciv his wk i h 1920s (Km 1990). Sdly his y discimii by gvms hs csd. pliicl csshi imi, visul d xul, hs lwys b s i cdd hisy; h hs v b i i im wh ci imi imgs w b illgl. th di ai Wiwi i Mch 2011 suggss hw wul, ifuil d illy hig h Chis gvm gd his wk. I iviw cducd v dys b his disc h sid, ‘I lg xis i h ys cil Chi. I yu my m i li sch mchi, h s ic ilu… bu ls I sill hv 70,000 llws twi… I cmm blms sciy, s l c s h fm is sill buig’ (Wiwi 2011). I ss, c xss viw, mi ii duig im csshi d liicl us, d i c mk dic. this is sy h iss vluiis hmslvs, bu h sc hughul ckwldgm cfic c vk chg. ai Wiwi’s disc isid glbl usi bu h lck dm xssi i wy-s cuy Chi. a is d c b sd m cmy li, s Wiwi’s cs vs; i is ciy discili d ds xis i vcuum. th mivi vluiy blis d dvus, hwv, ds cssily sm slly m liics, bu m vydy li. th I li uuis mvm h bgiig h wih cuy ws isid, i , by iss’ d chg i
Wih h v-gwig sc scil wkig d h isus sd imi, d h sci-liicl c b sd. Visul ivs icsigly wul d – sm is – hig mds cmmuici. 2011 hs s isic vus d jcs ub shu lds wih mj liicl issus d uf h hs my idividuls i ublic siis w. ps h Wikilks dilmm, imi is bcmig cls imssibl hss d ccl. o sigl v cugs dmi c ciy vs. a will v cs hiv d iumh i ims suggl d will lwys mi im visul d hicl cu h vydy. rEfErEnCEs
Bwl, a (1991), ‘pliics s a: Ili uuism d scism’, Theory and Society, 20:6, . 763–794. el nshky, Shdy (2011), ‘ahmd Bsiy: a h li h as d rvlui’, Naas Art Magazine, 1 Mch, vilbl : h://uivss-iuivs.g/g/s/icls/2011/hmd_bsiy. accssd 8 July 2011. Km, Hil (1990), ‘a, rvlui, d Kzimi Mlvich’, The New Criterion , 1 nvmb, vilbl : h://www.wcii.cm/icls.cm/a-vlui--d-Kzimi-Mlvich-5230. accssd 8 July 2011. Wiwi, ai (2011), ‘th ag Cziss’, iviw by Willim oliv, Dazed and Conused, Ju: 74. rEad on….
ald Cmi | Cu auh: Aesthetic Journalism , ISBn 9781841502687 Lu Ml | Idd schl 35
Q&a
Citica aa cic ca ti a ii itt attti t t ia t t tt. Julia Round, edi, Studies in Comics
CoMICS are oten lysd i ms hi syli iv: siui h hs b uh cugd dy by hi dii s ‘ghic vls’. a cus iss i h li dys h idusy gv wy, i h 1980s, icsig cus h ‘s wi’, xmlid by al M, nil Gim, k Mill d hs. tdy, ciicl lyss cmics c smims y suisigly lil i h visul lms h x. this sms dd siui wh csidig h imc . I cmics, syl d clu vid mi; lism ( lck h) cs u ii d idici wih chcs scs; h visul sciv ls c idic lsiy hwis c h llig h l; d h g lyu ms h ci scs mhsizd v hs ( xml vi ‘slsh gs’). m smiic sciv i my v b i d h cmic-bk l s kid hybid sigi (whs sigid is cil mm sc wihi l); i ch l, wd d img ixicbly bdd i lishi h c b subvsiv, cmlmy fciv. a Studies in Comics w cug cibus ch cmics m viy discilis i d xl bh h visul d vbl lms ch x. rEad on…
Juli rud | Bumuh Uivsiy edi: Studies in Comics, ISSn 20403232 36
. z c i w i k n i S l l i B d n M n l a © : g m I
37
intEllECt visual arts titlEs: sElECtEd list
s k o o b
Aesthetic Journalism: How to Inorm Without Inorming By Alfredo Cramerotti
Artist Scholar: Refections on Writing and Research By G. James Daichendt
Artist-Teacher: A Philosophy or Creating and Teaching By G. James Daichendt
Atomic Postcards: Radioactive Messages rom the Cold War By John O’Brian and Jeremy Borsos
ISBN9781841502687 £19.95, $35 | PB | 2009 | 1
ISBN9781841504872 £15.95, $25 | PB | 2011 | 1
ISBN9781841503134 £29.95, $50 | HB | 2010 | 1
ISBN9781841504315 £29.95, $45 | PB | 2011 | 1
The Blind Edited by Alfredo Cramerotti
Contingency in Madagascar By Stephen Muecke and Max Pam
Culture and Contestation in the New Century Edited by Marc James Léger
Design Integrations: Research and Collaboration Edited by Sharon Poggenpohl and Keiichi Sato
ISBN9781841503622 £24.95, $50 | PB | 2012 | 1 Critical Photography
ISBN 9781841504742 £29.95, $45 | PB | 2011 | 1 Critical Photography
ISBN9781841504261 £19.95, $40 | PB | 2011 | 1
ISBN 9781841502403 £19.95, $40 | PB | 2009 | 1
Drawing: The EnactiveEvolution o the Practitioner By Patricia Cain ISBN9781841503257 £19.95, $35 | PB | 2010 | 1
Engendering Interaction with Images By Audrey Grace Bennett ISBN9781841504810 £24.95, $40 | PB | 2011 | 1
Girls! Girls! Girls! in Contemporary Art Edited by Lori Waxman and Catherine Grant
Inspiring Writing in Art and Design: Taking a Line or a Write By Pat Francis
ISBN9781841503486 £19.95, $40 | PB | 2011 | 1
ISBN9781841502564 £14.95, $30 | PB | 2009 | 1
Franklin Furnace & the Spirit o the Avant-Garde: A History o the Future By Toni Sant ISBN9781841503714 £19.95, $25 | PB | 2010 | 1
International Dialogues about Visual Culture, Education and Art Edited by Rachel Mason and Teresa Eça ISBN9781841501673 £19.95, $40 | PB | 2008 | 1
Moving the Eye Through 2-D Design: A Visual Primer By Buy Shaver ISBN9781841503639 £19.95, $40 | PB | 2010 | 1
Narrating the Catastrophe: An Artist’s Dialogue with Deleuze and Ricoeur By Jac Saorsa
Neosentience: The Benevolence Engine By Bill Seaman and Otto Rössler ISBN 9781841504049 £19.95, $40 | PB | 2011 | 1
ISBN9781841504605 £45, $60 | HB | 2011 | 1
The Place o Artists’ Cinema: Space, Site and Screen By Maeve Connolly
ISBN 9781841503776 £29.95, $60 | HB | 2011 | 1
Issues in Curating Contemporary Art and Perormance Edited by Judith Rugg and Michèle Sedgwick ISBN9781841501628 £29.95, $60 | HB | 2007 | 1
Picturing Immigration: Photojournalistic Representation o Immigrants in Greek and Spanish Press By Athanasia Batziou ISBN9781841503608 £40, $80 | HB | 2011 | 1
Reaching Audiences: Distribution and Promotiono Alternative Moving Image By Julia Knight and Peter Thomas
Readings in Primary Art Education Edited by Steve Herne, Sue Cox and Robert Watts ISBN9781841502427 £19.95, $40 | PB | 2009 | 1
Recording Memories rom Political Violence: A Film-maker’s Journey By Cahal McLaughlin
ISBN 9781841501574 £19.95, $40 | PB | 2011 | 1
Readings in Art and Design Education
ISBN9781841503011 £19.95, $40 | PB | 2010 | 1
Searching or Art’s New Publics Edited by Jeni Walwin
ISBN9781841501994 £24.95, $50 | HB | 2008 | 1
Robert Frank’s ‘The Americans’: The Art o Documentary Photography By Jonathan Day
Spatialities: The Geographies o Art and Architecture Edited by Judith Rugg and Craig Martin
Readings in Art and Design Education
ISBN9781841503158 £19.95, $40 | PB | 2010 | 1
ISBN 9781841502465 £19.95, $40 | PB | 2009 | 1
Research in Art & Design Education Edited by Richard Hickman
38
The Future o Art in a Postdigital Age: From Hellenistic to Hebraic Consciousness (2nd ed) By Mel Alexenberg
ISBN9781841503110 £19.95, $35 | PB | 2010 | 1
ISBN9781841504681 £29.95, $50 | PB | 2011 | 1
1
E-book available
rEad on...www.intellectbooks.com | ublishs igil hikig | t viw cml lis Illc’s ublicis visi us li
Streets o Crocodiles: Photography, Media, and Postsocialist Landscapes in Poland By Katarzyna Marciniak and Kamil Turowski
Truth or Dare: Art and Documentary Edited by Gail Pearce and Cahal McLaughlin
Unmapping the City: Perspectives o Flatness Edited by Alfredo Cramerotti
Videogames and Art Edited by Andy Clarke and Grethe Mitchell
ISBN9781841501758 £19.95, $40 | PB | 2007 | 1
ISBN9781841503165 £14.95, $25 | PB | 2010 | 1
ISBN9781841501420 £29.95, $55 | PB | 2007 | 1
Critical Photography
ISBN9781841503653 £24.95, $50 | PB | 2010 | 1 Critical Photography
Virtuality and the Art o Exhibition: Curatorial Design or the Multimedial Museum By Vince Dziekan ISBN 9781841504766 £24.95, $40 | PB | 2011 | 1
s l A n r u o J
Visual Communication: More than Meets the Eye By Harry Jamieson
Crat Research Editors: Kristina Niedderer & Katherine Townsend ISSN 20404689 Online ISSN 20404697 First published in 2010 1 issue per volume
Journal o Writing in Creative Practice Editors: John Wood & Julia Lockheart ISSN 17535190 Online ISSN 17535204 First published in 2008 3 issues per volume
Philosophy o Photography Editors: Daniel Rubinstein, Andrew Fisher & Tim Stephens ISSN 20403682 Online ISSN 20403690 First published in 2010 2 issues per volume
Art & the Public Sphere Principal Editor: Mel Jordan
Art, Design & Communication in Higher Education Editor: Linda Drew
ISSN 2042793X Online ISSN 20427948 First published in 2011 3 issues per volume
ISSN 1474273X Online ISSN 20400896 First published in 2002 2 issues per volume
International Journal o Islamic Architecture Director and Founding Editor: Mohammad Gharipour
Journal o Arts & Communities Principal Editor: Hamish Fyfe
Metaverse Creativity Editors: Elif Ayiter & Yacov Sharir ISSN 20403550 Online ISSN 20403569 First published in 2010 2 issues per volume
ISBN9781841503073 £17.95, $25 | PB | 2010 | 1
ISSN 17571936 Online ISSN 17571944 First published in 2009 3 issues per volume
The Moving Image Review & Art Journal (MIRAJ) Founding Editor: Catherine Elwes ISSN 20456298 Online ISSN 20456301 First published in 2012 2 issues per volume
Why We Make Art: And Why it is Taught (2nd ed) By Richard Hickman ISBN 9781841503783 £14.95, $25 | PB | 2010 | 1
ISBN9781841501413 £14.95, $30 | PB | 2007 | 1
Animation Practice, Process & Production Editor: Paul Wells ISSN 20427875 Online ISSN 20427883 First published in 2011 2 issues per volume
ISSN 20455895 Online ISSN 20455909 First published in 2012 2 issues per volume
Visual Cultures By James Elkins
Critical Studies in Fashion & Beauty Editors: Efrat Tseëlon, Ana Marta González & Susan Kaiser ISSN 20404417 Online ISSN 20404425 First published in 2010 2 issues per volume The Poster Editor: Simon Downs ISSN 20403704 Online ISSN 20403712 First published in 2010 2 issues per volume
Book 2.0 Principal Editor: Anthony Harrild ISSN 20428022 Online ISSN 20428030 First published in 2011 2 issues per volume
Journal o Curatorial Studies Editors: Jim Drobnick & Jennifer Fisher ISSN 20455836 Online ISSN 20455844 First published in 2012 3 issues per volume
Technoetic Arts Editor: Roy Ascott ISSN 1477965X Online ISSN 17589533 First published in 2003 3 issues per volume
Design Ecologies Editor: Dr. Shaun Murray ISSN 2043068X Online ISSN 20430698 First published in 2011 2 issues per volume
Studies in Comics Editors: Julia Round & Chris Murray ISSN 20403232 Online ISSN 20403240 First published in 2010 2 issues per volume
International Journal o Education through Art Editor: Glen Coutts ISSN 17435234 Online ISSN 2040090X First published in 2005 3 issues per volume
Journal o Visual Art Practice Editor: Chris Smith ISSN 14702029 Online ISSN 17589185 First published in 2001 3 issues per volume
Visual Inquiry: Learning & Teaching Art Principal Editor: G. James Daichendt ISSN 20455879 Online ISSN 20455887 First published in 2012 3 issues per volume
39
