‘Ink Art’ as strategy for Hong Kong institutions

Abstract

In both their wider cultural dimensions and the institutional practices they stem from, the practices of ink art in Hong Kong manifest themselves in a variety of discourses ranging from the ‘traditionalism’ of the conservative nativists to the ‘contemporaneity’ of artists and institutions often identified as being closer to ‘Western’ culture. Even though the most influential discourse about ink art in Hong Kong has clearly been produced by official institutions, like the future museum of visual culture called M+ and the already existing Museum of Art, it has also been profoundly influenced by private associations whose influence has been far reaching. The most visible of these private associations in Hong Kong is the Ink Society, whose founding members and their affiliates and friends have played a central role in the early debate about the nature of ink art in the history of local arts. Through an analysis of a failed attempt by the Ink Society to bid for the right to manage a historical site, this paper attempts to unravel some of the ideas that support the notion of ink art in Hong Kong.     

Post-Soviet Nostalgia in Israel? Historical Revisionism and Artists of the 1.5 Generation

ABSTRACT

The article examines contemporary Israeli poetry and visual art by Russian-Jewish artists of the 1.5 generation, artists who were born in the Soviet Union but resettled in Israel during the 1990s. By focusing on the representation of the Soviet–Jewish past in their works, I show that in contrast to the largely negative view of the Soviet experience by the previous generations of Russian-Israeli authors, the historical understanding of the 1.5 generation is fundamentally different. This cohort of artists resists the lachrymose portrayal of Jewish life in the USSR and the “Happily Ever After” finale in Israel. Instead, they propose a counter-narrative that is hinged on a romanticized depiction of life in the USSR and disillusionment in Israel that followed. I argue that nostalgic representations of the Soviet–Jewish past by these artists derive from the suffering, humiliation, and rapid downwards social mobility that the Russian-speaking community experienced in Israel.     

Reorientalism and globalisation: transnational artists from India and representations of the ‘other’

In this article, I discuss some artists who have emigrated from India to the United States and the United Kingdom whose more recent work contains ‘Orientalising’ imagery influenced by the conjoined forces of the art market, collectors, biennales, globalisation, the Internet, the rapid development of India’s economy and its impact on the global art scene. It seems that fame and fortune for some Indian artists living in the West entails capitulating to the desire for exotic, ornate, sexual and stereotypical representations associated with Indian culture and religion. In contrast, I consider the direction taken by other artists who remain in their country of origin and portray life lived there without being particularly attentive to being Indian, although they may concentrate on social and political issues.     

The Dark Side of Art’s Social Turn: Towards a Discourse on the Impact of Art’s Use of Social Forms Upon the Social

The recent “social turn” in art, in which art favours using forms from social life above its own, has been extensively discussed. Relational Aesthetics by Nicolas Bourriaud, Conversation Pieces and The One and the Many by Grant Kester, essays by Claire Bishop who supplies the term “the Social Turn,” and her recent publication Artificial Hells, are now as important to the field as the art they scrutinise. Ironically, however, when this discussion regards the implications of the “turn”, it habitually addresses the effects of this development from – and for – art’s point of view, overlooking the way in which artists’ inroads into social life may be differently regarded in the social realm. As much as this represents a failure to illuminate a particular area for knowledge, it also signifies a failure to take art’s revalorised commitment to the social to its ethical conclusion: such, from two perspectives, is the “dark side” of art’s social turn. This article seeks to mitigate these oversights. In particular, it looks at art in which an artist undertakes another person’s professional work. Considering the effects of this on those whose practices are appropriated, I propose a consultative approach, involving ethnographic and empathetic modes of address. Consequently, this article does not present an answer to the question it poses, “how do professionals in the social realm see art’s appropriations of their practices?” but rather, a framework for approaching that.     

‘Farewell Red Balloon’ – visual analysis of illustrations inspired by a children’s book

Lee Hall’s recent play The Pitmen Painters, based on William Feaver’s account of ‘unprofessional painting’ by miners in a Northumbrian coal mining village, raises issues surrounding the representation of the North in visual culture. This paper considers the now increased visibility of the Ashington Group and their adoption as nostalgic symbols of self-improvement and the intellectual life of the working classes. The reproductions of the Group’s paintings in Hall’s play prompt consideration of current debates around access to education, the use of art as social improvement, the loss of traditional Leftist values in the British Labour Party, the transformation of sites of heavy industry to cultural/heritage sites and the perceived poverty of ambition in communities such as Ashington today. The focus on the Group here also reignites problematic questions for art history itself: the art historian’s urge to critically frame groups of artists and the continued equation of non-professional art with ‘authenticity’ in art history and criticism, as well as the ethical issues involved in ‘speaking on behalf of others’ (Craig Owens).     

From ‘Asylum-Seeker’ to ‘British Artist’: How Refugee Artists are Redefining British Art

This essay takes a case-study approach to examine how culture may be transferred from immigrant cultures to a so-called host culture. Considering the work of three visual artists who came to the UK as refugees but who are now considered ‘British artists’, it examines the effect this curatorial definition may have on gallery viewers. The author proposes that looking at work that previously might have been viewed as ‘exotic’ or ‘foreign’ but that is now classed as British forces viewers to reassess and renegotiate their understanding of the nature of ‘Britishness’ and indeed of place-Britain. Drawing on the ideas of Edouard Glissant and also of contemporary geographers about the nature of place, the study proposes that place-Britain, like all places, is in a constant and never ending state of production. The work of artists from refugee populations, shown now as ‘British art’, becomes a dynamic part of this process and a means by which new elements are transferred and added to an ever-changing British cultural fabric     

Five artists' valuations of the visual

Abstract

This paper comprises interviews with five practising artists: Terry Atkinson, Torie Begg, Rebecca Fortnum, Lubaina Himid, and James Hugonin. The aim is to gauge the ways in which ‘the visual’ features in contemporary fine art practice, not only at the end of a century in which the visual ‐ at least for much of the first half of that century ‐ was often accorded special status, but also, more recently, after Conceptualism and radical egalitarian interventions have challenged the status of and assumptions about the value of the visual. All five artists were asked the same questions: What/who are the formative influences on your work?; What role does the visual play in your work ‐ to what extent do you value the visual?; Can you say something about (i) aesthetic and (ii) pleasure ‐ however you define them?; How does a work evolve?; How do you define quality ‐ what makes you think one of your works is better than another?; What is the spectator's relationship to your work? ‐ what role does the spectator have? The responses bear witness to significantly different ways in which contemporary artists value the visual.     

Exploring Narratives and Antenarratives of Graffiti Artists: Beyond Dichotomies of Commitment and Detachment

In this article, we propose engagement in critical analysis of social phenomena—here, that of ‘commitment’—through consideration of narratives of and about graffiti artists (‘graffers’). We discuss ways in which graffers are viewed as demonstrating conformance with or rebellion against prevailing social mores. We address representations of them through their own work, as well as in the media and in academic literature. We find that graffers are generally portrayed in simplistic terms, being either vilified and seen as detached from norms of society or justified through incorporation into the discourse of modern art. In our analysis, we employ Boje’s concept of ‘antenarrative’ to challenge the dichotomous depictions of graffers, particularly in relation to the notion of commitment. We posit that the antenarrative approach can also enable analysis of less extreme groups, helping us to explore relevant concepts and phenomena.     

The Dangerous Real: Queer Solo Performance in/as Active Disruption

Abstract

Like all radical community endeavours, queer performance in the United States has been shaped through resistance to restrictive ideologies. National insecurity over ‘indecent’ (read: queer) artistic expression in the US has been aimed at artists working in a variety of genres, and here I focus specifically on queer solo performance artists. This essay explores the dangerous realities that queer artists present to an imagined unified US national identity. I argue that queer solo performers operate as artistic activists, challenging homogenous fantasies about US culture through the queering of experience. Aesthetically disparate, their work is connected by common threads of vulnerability and precarity. The article asks how their work disrupts U.S. insecurities concerning intersections of sexuality, gender identity, race and religion.     

Using Visual Art Workshops with Female Survivors of Domestic Violence in Portugal and England: A Comparative Reflection

ABSTRACT

This paper provides a reflection on the use of visual art workshops in an interdisciplinary feminist project with female survivors of domestic violence living in refuges in England and Portugal. The paper discusses the fieldwork in each location with attention to the interaction between participants, between participants and the researcher/s, and the cultural and institutional structures influencing the research and the images produced. Despite some key differences in the context, the analysis highlights key resonances and commonalities amongst the objects that survivors of domestic abuse depicted in each location. We use the feminist notion of ‘giving voice’ as an analytical tool throughout the paper. The paper argues that ‘giving voice’ was not unproblematically accomplished by using visual methods and suggests that our understanding remained partial and often reliant on verbal narratives accompanying the visual images produced. We also highlight issues of power emerging when exhibiting art generated through the study.     

Heritage practices,indigenismo, and coloniality: studying-up into racism in contemporary Mexico

ABSTRACT

Based on two years of ethnographic fieldwork traveling with three ‘artesanos’ (mask-makers) from rural Michoacan and ‘studying up’ as they circulated through fairs and folk art competitions across Mexico, this paper describes how indigenous artists in rural Michoacan are routinely incentivized and sometimes cudgeled within majoritarian institutions of art in Mexico to enact self-racializing stereotypes and stigmatized indigenous identities and to produce and showcase the so called traditional works and performances that conform to static and primitivist stereotypes. At play here is the interlinked legacy and persistence of paternalism, indigenismo, nationalism, and primitivism. These logics continue to play out in reconstituted terms beyond or after the legal, political, and official embrace of pluriculturalism and the multiethnic community in Mexico. The embedded ethnographic vignette and the analysis that follows suggests how a strategy of ‘studying-up’ into coloniality furthers the delinking program. In line with the strategy of delinking, the ethnographic and conceptual work in this article proceeds by decentring or provincializing a set of dichotomous or binary oppositions that are commonly expressed and articulated within the Mexican heritage field, which would oppose indigenous tradition and culture against urban and mestizo modernity, civilization, and culture. The analysis diverges from a common or dominant approach to delinking in one crucial way – it does not engage in ‘borderthinking’ by looking towards the margins; it does not counterpose subaltern indigenous knowledge with privileged occidental knowledge. Instead, presenting an analysis that ‘studies up’, the paper applies the tools of decolonial theory and method and critical theory to analyse and interrogate elite Mexican patrimonial institutions and culture, which in fact epitomize coloniality and engender indigenous vulnerability. The article concludes by discussing the value and the potential pitfalls of this approach, in order to further the decolonizing project from within the space of cultural studies.     

Sniffing the city: issues of sousveillance in inner city London

This article reflects on a series of workshops run by the art/media/hacktivist collective Deptford.TV in collaboration with the Centre for Urban and Community Research (CUCR), Goldsmiths, University of London in 2009–2010 and in 2012. The aim of the workshops was to create short films using hacked CCTV material. Participants, equipped with digital video signal receivers, were led through the city by incoming surveillance camera signals. Receivers cached surveillance camera signals making a range of city spaces visible. The material was then stored on a shared video platform and reshuffled in personal narratives and montages of the city. Hackers and media artists call it ‘sousveillance’ and frame it as a critique of the ‘panopticon society’. I argue that this practice reveals an unusually realistic portrait of inner city London and its working-class population at their everyday work. My contention is that the absence of such activities in narratives of gentrification and the presumed end of manual work make this portrait particularly valuable. The article evaluates this emerging and ethically controversial practice of video recording, asking to what extent it can become a useful tool for urban scholars, visual sociologists and media artists. In conclusion, I argue that the exercise provides moments of self-discovery for the urban stroller, who – while practicing a sort of heroic immersion in inner city London – paradoxically becomes a watcher of scenes from life fabricated at a ‘safe’ distance; a middle way between urban ethnographer and flâneur.     

Recognizing experiential knowledge in the process of qualification of peer helpers: an analysis of an educational program for service users in France

ABSTRACT

This article analyzes an innovative training program enabling the qualification of peer carers, working within the sector of ‘social inclusion’. Since the French national debate on social work conducted within the ‘Estates General’ of 2015, peer workers have become key players in training programs in virtue of their experiential knowledge and their understanding of issues related to the process of social exclusion. This article addresses the role of peer helpers’ experiential knowledge in the training process. Because of their ‘experiential’ and ‘empirical’ knowledge about questions linked to the process of exclusion, peer helpers have become key players in social work teams and within social institutions, thus contributing to new methods of socio-educational intervention. What impact will this recognition of peer helpers’ and service users’ experiential knowledge have on education in social work? This article gives an account of an 8-month training program for peer helpers examined on the methodological level through a process of Participant observation, and based on data from comprehensive interviews carried out with a panel of peer helpers.     

Using movement: how Beijing's post-1989 artists capitalized on a city in flux

The 1990s are often described as a time of political retreat by artists and intellectuals in China, immediately following the protests at Tiananmen Square in 1989 and their bloody crackdown. The 1990s were also, however, a time of dramatic spatial and social flux in the country, characterized by radical urbanization, widespread demolition of the built environment and mass rural to urban migration.

This paper considers the political activities of Chinese artists during the 1990s and early 2000s, yet does so with a focus on their spatial engagements, arguing that these constituted a new, necessary and highly productive mode of political work at this time. Describing a number of relatively self-made artists’ colonies that appeared in Beijing in the early 1990s, and tracing these through to their semi-institutionalization (as ‘creative industries precincts’) by the Chinese Communist Party in the mid-2000s, it demonstrates alternative means by which China's artists continued to intervene in the negotiation of a Chinese modernity, once the possibilities for discursive engagement had been largely foreclosed.

Drawing on archival research, personal interviews and literature in art history as well as cultural, urban and policy studies, this analysis thus tells a spatial history of this period often historicized as the development of ‘Contemporary Chinese Art’. Importantly, this paper also seeks to offer new political imaginaries, pressing against expectations that Chinese artists be revolutionary or openly oppositional, and illustrating modes of political intervention that instead work creatively and discreetly with the movements of institutional and physical change.     

People with sight impairment in the world of visual arts: does it make any sense?

Abstract

The article describes an educational and artistic project in Poland where individuals with sight impairments could learn more about visual arts through guided city tours around their greatest monuments, appreciation of art pieces and meetings with artists. During workshops, they could test their own artistic skills by creating tactile drawings, pottery sculptures, photographs and tactile picture book. The effects of their attempts were presented in a temporary exhibition in the contemporary art gallery (with an associated educational program). The exhibition was a significant experience both for the artists with visual impairments and the visitors. Through analysis of the structure and content of the artworks, the gallery visitors could understand more about the situation of people with sight impairments as they struggle with everyday tasks and how creative they are.     

Professional discretion and length of work experience: what findings from focus groups with care managers in elder care suggest

ABSTRACT

Research has explored how care managers in elder care – who often function as ‘street-level bureaucrats’ – regard professional discretion. The way in which length of work experience affects care managers’ use of professional discretion remains, however, unexplored. This article present findings from 12 focus groups with 60 care managers. By bringing attention to how care managers experience the needs assessment process, this article sheds light on how these ‘street-level bureaucrats’ struggle when they try to balance their clients’ needs against institutional frameworks and local guidelines. Length of work experience seems to play a role in how care managers claim to use professional discretion. Experienced care managers describe how they deviate from the guidelines at times in order to create an increased scope of action in their decision-making process. Those with less time in the profession describe greater difficulties in this respect. Findings suggest that research should explore if length of work experience plays a role in the actual way in which care managers assess needs and make decisions. As such, they contribute to our understanding of how needs assessment processes are navigated by professionals while also pointing towards the nature of professional discretion in gerontological social work.     

From state-bound subjects to global subjects: notes toward an Althusserian theory of globalized subjectivity

ABSTRACT

This article puts Louis Althusser's conception of subjective production via ideological interpellation in dialogue with contemporary Global theories – especially those of Saskia Sassen and Manfred Steger. It does this to offer a more robust framework for understanding subjective production that captures subjective transformations in the age of globalization. The article looks at how Sassen's work captures transformations of social and institutional structures in globalization and then looks at Steger's account of subjective transformations. It then turns to the ways in which Althusser's understanding of the intertwining of subjectivity with institutions and social practices can help bridge the gap between Sassen and Steger and can also help us understand the rise of what I call ‘global subjects’ and a ‘global subjectivity’ that can be in conflict with more traditional ‘state-bound’ subjects. I use the example of globalized regimes of care work in order to help make sense of these distinctions.     

Art dealers as competitors and community builders: Understanding the overlapping social logics of the contemporary art world

Art dealers are often described as gatekeepers who are focused on their own position as well as the status of their artists and collectors. We argue that this is an incomplete account of art dealing. The goal of this article is to explain how art dealing is a “toolkit” that does not exclusively focus on status building and social capital, but also includes behavior associated with accessing the visual arts field and community development. First, art dealers often have a background that has strong social ties to art, which provides them with intimate knowledge of the art world and social connections with artists, collectors, and other art world actors. For that reason, entry into art dealing reflects intimate knowledge of art practices, what we call “proximate connoisseurship.” Second, art dealerships reflect both competitive and communal factors. Art dealers may choose to work with artists based on their ability to generate income, social capital, and prestige (“competitive logic”), but art dealers may also employ a “communal logic” focused on friendships and creating community. This theory of art dealers is illustrated with excerpts from interviews with 34 dealers randomly selected from the rosters of international art fairs such as Art Basel Miami, EXPO Chicago, Aqua, and the New Art Dealers Alliance show.     

‘Globalisation’, Governance and social work: Some implications for theory and practice

Abstract

This article focuses cautiously on the implications of ‘globalisation’ for social work theory and practice. In drawing on recent debates it is argued that, despite its contested meaning, ‘globalisation’ points to a range of rapid and fundamental socioeconomic and political transformations that have impacted upon entire regions of the work. Some of these transformations are identified and analysed in terms of their consequences for transnational, national and local populations. It is proposed that the prevailing consequences of globalisation in terms of social inequality and allied modalities of governance are negative, and that this has important implications for the profession of social work. Effective strategies for confronting the challenges posed by ‘turbo capitalism’ may be found in alliances across global social movements and professional groups, including social workers. The challenges are profound.     

Digital survivance and Trickster humor: exploring visual and digital Indigenous epistemologies in the #NoDAPL movement

ABSTRACT

The decolonizing turn in the humanities and social sciences calls for scholarship that analyzes social media practices through the lens of Indigenous epistemologies. In this article, we model the ways that Indigenous epistemologies might contribute to theories of social media practices as we explore ways that the digital image can drive identification with and engagement in political acts. The article analyzes social media tropes circulated across various platforms among Indigenous communities and allies in relation to the #NoDAPL movement. We argue that attempting to analyze Native American traditions through Western theory will only work towards colonizing these Indigenous texts. Thus, whereas we employ insights from digital and visual methods of analysis (Highfield, T., & Leaver, T. (2016). Instagrammatics and digital methods: Studying visual social media, from selfies and GIFs to memes and emoji. Communication Research and Practice, 2(1), 47–62), we also highlight the strategic use of humor in the visual materials shared through various social media platforms utilizing the framework of the Trickster. We argue that the visual and digital phenomena we studied might best be understood as a form of digital survivance, drawing upon Anishinaabe scholar Gerald Vizenor [(1994). Manifest manners: Postindian warriors of survivance. Hanover, CT: Wesleyan University Press]. term ‘survivance’ as a portmanteau that combines ‘survival’ and ‘resistance’ in its characterization of Indigenous storytelling traditions. Whereas centering the Indigenous figure of the Trickster might suggest that social media has failed to live up to its promises, this epistemological approach also explains the hope that Indigenous communities hold in uniting via social media for what has been and continues to be a long-term battle for sovereignty and for the protection of the earth and all of its beings.