Art History and Visual Studies

Desde fines del siglo XIX la concentración fabril y ferroviaria en La Boca hicieron que se congregara un intenso movimiento sindical socialista
y anarquista. La actividad portuaria condensaba la mayoría de los aspectos de la vida barrial y allí se desarrollaron militancias gremiales y políticas, que lo convirtieron en un ámbito fundamental de la experiencia
obrera a principios del siglo xx. En este ambiente se destacó Santiago Stagnaro, quien desde su juventud trabajó en los astilleros y se identificó
con la causa proletaria.

Rembrandt van Rijn (1606-1669) was a Dutch baroque painter, sketcher, and printmaker who was not only one of the most prominent artist of all time, but made the foremost self-portraits of any other known artist.1 In his life Rembrandt suffered from a lot of misfortune than any other ordinary man. To be sure, it is no longer the fashion for critics to attack him both as artist and human being.2 Today the inquiry is done by writers of romantic biographies and films who mean to honor him. Their revised standard version of Rembrandt's life runs approximately as follows: "The child of poor, ignorant Dutch peasants, Rembrandt was born with near-miraculous skill in art. As an uneducated young man, he established himself in Amsterdam, and married with a beautiful, wealthy, sympathetic girl named Saskia, and enjoyed a short period of prosperity and fame. However, because man of genius are always misunderstood by the public, fate snatched him by the throat. The important burghers of the city, who may not have known much about art but knew what they liked, gave him an enormous commission-The Night Watch-in which the burghers were to be painted in traditional postures and lights. Rembrandt responded with a masterpiece-a fact unfortunately apparent only to him and his wife. Everyone else, from the burgers to the herring-peddlers, thought the painting was dreadful. Rembrandt's patrons hooted in rage and derision, demanding changes that the artist, secure in the knowledge that posterity would vindicate him, stubbornly refused to make."3 At this point, because it is not customary for a genius to suffer a single setback but to be overwhelmed by multiple catastrophes, Rembrandt's wife died, the Night Watch was ripped from the wall and placed in some indecorous location, his friends deserted him, and he was 1J.

This study aims to discuss the visualization of corruption through editorial cartoons by examining a case study of Indonesia Raya newspaper in the early years of the New Order during the period of 1968–1974. In the course of its history, Indonesia Raya became one of the newspapers that posted the existence of corruption cases through its editorial cartoons. This article argues that criticism of corruption cases can be traced not only in text, but also in satirical images which are sometimes sarcastic and playful. This research identifies the dynamic development of Indonesia Raya newspaper’s editorial cartoons in enabling the visualization of corruption cases during the early years of the New Order until the Malari event in 1974 which ended the history of the newspaper. Using a historical method, this paper attempts to present the study of visual history to record an event in the history of the country.

This article investigates a research method of the so-called Vienna School of Art History, mainly its transformation by Max Dvořák around the First World War. This view on the Vienna School of Art History is researched in writings on Pieter Bruegel the Elder by Dvořák's students Hans Sedlmayr and Charles de Tolnay. The article then suggests a possible interpretative relationship of the Vienna School of Art History after its transformation by Max Dvořák with today's approaches to art (history), mainly with the so-called visual studies.

Illustrations are an essential transmission instrument. For an historian, the first step in studying their evolution in a corpus of similar manuscripts is to identify which ones correspond to each other. This image collation task is daunting for manuscripts separated by many lost copies, spreading over centuries, which might have been completely reorganized and greatly modified to adapt to novel knowledge or belief and include hundreds of illustrations. Our contributions in this paper are threefold. First, we introduce the task of illustration collation and a large annotated public dataset to evaluate solutions, including 6 manuscripts of 2 different texts with more than 2 000 illustrations and 1 200 annotated correspondences. Second, we analyze state of the art similarity measures for this task and show that they succeed in simple cases but struggle for large manuscripts when the illustrations have undergone very significant changes and are discriminated only by fine details. Finally, we show clear evidence that significant performance boosts can be expected by exploiting cycle-consistent correspondences. Our code and data are available on http://imagine.enpc.fr/~shenx/ImageCollation.

If for Bachelard a door is "the whole world of the half-open", for Art Space Pythagorion windows remain an important element of the poetic operation of the space, a functional aperture to the distinct emotional geographies of Samos, its division into East and West, the intimate and the unknown, the experienced and the yet unspoken. In "13,700,000 km^3" exhibition, windows operate as a provocative opportunity for familiarity, a look outside of the commodity of the inside, a way to see others through a protective glass, filtered, illuminated and eventually clear.

A contribution to the section on colour photography that I guest-edited for  PhotoResearcher 31 (also including articles by Dr Laure Blanc-Benon and Dr Caroline Fuchs).

The text discusses the intrinsic elusiveness of colour photography vis-à-vis the complex historical baggage of its synthetic nature and in respect of Rainbow’s Gravity (Mareike Bernien and Kerstin Schroedinger, 2014) and A 240 Seconds Analysis of Failure and Hopefulness (with Coke, Vinegar and other Tear Gas Remedies) (Basim Magdy, 2012),

A través de las obras de los artistas guatemaltecos Isabel Ruiz, Aníbal López y Manuel Chavajay apunta a Centroamérica como un sismo continuo, una región marcada por el litigio y los despojos de tierra, y el impacto de las guerra que expone las paradojas (heridas) que produce el entusiasmo por el progreso y la vida moderna.

Ponencia presentada en Central What? Central America!, publicada dentro del programa dialogicCentralsolutions (2015), curado por Roc Laseca en el ArtCenter South Florida, ahora Oolite Arts. Miami, Florida.

STUDIES IN VISUAL ARTS AND COMMUNICATION
Research published by the Journal encompasses (but not limited to) topics from: * visual arts theory, criticism, history, curatorship; * visual studies; * hermeneutics of visual arts; * artistic research in visual arts (reports on visual art-based research); * aesthetic theory; * critical theory; * visual arts and (hard / soft) science; * issues on creativity in the arts; * arts related communication studies, communication theory, media theory.

Automated facial recognition algorithms are increasingly intervening in society. This book offers a unique analysis of these algorithms from a critical visual culture studies perspective.The first part of this study examines the example of an early facial recognition algorithm called »eigenface« and traces a history of the merging of statistics and vision. The second part addresses contemporary artistic engagements with facial recognition technology in the work of Thomas Ruff, Zach Blas, and Trevor Paglen. This book argues that we must take a closer look at the technology of automated facial recognition and claims that its forms of representation are embedded with a visual politics. Even more significantly, this technology is redefining what it means to see and be seen in the contemporary world.

Illustrations are an essential transmission instrument. For an historian, the first step in studying their evolution in a corpus of similar manuscripts is to identify which ones correspond to each other. This image collation task is daunting for manuscripts separated by many lost copies, spreading over centuries, which might have been completely reorganized and greatly modified to adapt to novel knowledge or belief and include hundreds of illustrations. Our contributions in this paper are threefold. First, we introduce the task of illustration collation and a large annotated public dataset to evaluate solutions, including 6 manuscripts of 2 different texts with more than 2 000 illustrations and 1 200 annotated correspondences. Second, we analyze state of the art similarity measures for this task and show that they succeed in simple cases but struggle for large manuscripts when the illustrations have undergone very significant changes and are discriminated only by fine details. Final...

This essay explores the relationship between concepts such as political art and art as a strate-gy of political action (Camnitzer, 2008), as well as power over and power to do (Holloway, 2002) in Guatemala (1954-2011). Within this framework, this work situates the conceptualist practices in the country,  also  mediated  by  war  (1960-1996)  and  exile;  and  studies  the  role  of  Costa  Rica  as  both  a haven for exiles and epicenter of Central American artistic relations. Guatemalan conceptualism, and Central American conceptualism in general, is still relatively unknown given the lack of archives, documentation and research that take this period into account. Nevertheless, conceptualist art practices stayed vibrant well into the 21st century due to the persistence of the original social conditions and the artistic transnational networks that validate them. At least until the Guatemala elections of 2011, in, conceptualism was as much part of the political as the artistic language.

Este ensayo explora las relaciones entre los conceptos arte político y arte como estrategia de acción política (Camnitzer, 2008), junto a los de poder sobre y poder hacer (Holloway, 2002) en Guatemala
(1954-2011). Dentro de tal marco, este trabajo ubica las prácticas conceptualistas del país, mediadas por la guerra (1960-1996) y el exilio. Al tiempo que estudia el papel de Costa Rica como refugio de exiliados y como epicentro de las relaciones artísticas centroamericanas. El conceptualismo guatemalteco y el centroamericano, en general, es bastante desconocido aún, dada la falta de archivos, documentos e investigaciones que den cuentan de este período. Pese a ello, ha sido una práctica viva durante una buena parte del siglo XXI, debido a la persistencia de las condiciones sociales que le dieron origen y a las redes artísticas transnacionales que la validan. Al menos, hasta
las elecciones del 2011, en Guatemala, el conceptualismo era parte, por igual, del lenguaje político y artístico.

Английским влияниям в русском искусстве рубежа XIX-XX веков никогда не уделялось слишком много исследовательского внимания - в отличие от влияний французских или немецких. Книга Екатерины Вязовой в значительной мере восполняет этот пробел. Автор подробнейшим образом фиксирует и анализирует «следы» английской культуры в Петербурге и в Москве, выстраивая
увлекательную историю взаимных созвучий, влечений и встреч.

Marlen Haushofer’s dystopian novel Die Wand has reached a wide and varied audience since its publication in 1963: far from being restricted to an academic readership, it has become both a cult book and a modern classic. Despite having written an international bestseller, Marlen Haushofer remains a relatively undiscovered figure and presence within her generation of Austrian writers. In this she is comparable to Ilse Aichinger and Gerhard Fritsch, and in marked contrast to Ingeborg Bachmann and Thomas Bernhard. This conference, marking the 100th anniversary of Haushofer’s birth and the 50th of her death, is broadly conceived and seeks to situate her work within the historical contexts of the post-war period and the Cold War, as well as within the cultural contexts of Austrian literature in particular and dystopian fiction in general.

This article draws on John Locke's theoretical conceptualisation of eavesdropping in examining the surgical, representational, and communicative practices of plastic surgeon and celebrity, Dr. Michael Salzhauer (aka Dr. Miami). I draw in part on literature in surveillance and visual studies to critically examine the visual and auditory features of Dr. Miami's Snapchat stories, which, like reality television, are disseminated to audiences for their consumption. Through a critical visual analysis, I examine how the combination of social media (i.e., Snapchat) and visually documenting surgical practices has helped resurrect the Anatomical Theatres of the 13th to 18th centuries in digital forms through eavesdropping. Five themes emerged from the analysis: Resurrecting the Anatomical Theatre, Cosmetic Theatres, Technologically Mediated Gazes, Clinical Anatomical Objectification (CAO) and Anaesthetic Coma: Digitally Eavesdropping.

More than finding information, this collection also unveils and reveals information throughout multidimensional spaces. Needless to say that history is generally written by those who have conquered and won the allegiance of those who were vanquished, submitted. An yet, some of the latters would have been able to mark pages, spaces, times and memories with their own experiences, within their own bodies. Empirical histories intrinsically bear the global histories. In  the case of the Francophone Caribbean, the subjective histories (histoires chaudes) encompass the objective history (Histoire froide) of an alternative French narrative whose founding myths disqualify the mythical tales of an indivisive and unified nation. Behind the colonial loopholes, cross-fertilized, affirmative identities emerge. They highlight and nuance the representations of France, Frenchness and  Francophonie.
Through contemporary artistic practices can be discovered or uncovered the African and European inseminations which have constructed the Frenchized or French-ingrained identities displayed, deciphered and self-introduced in the volume. The artists’s portraits, patterns, and discourses reveal a process commonly shared among them : unmasking, diagnosing and collecting the imprints and traumas of colonialism in their own bodies and various inhabited spaces : native and explored abroad.
The concept of archive is  also  declensed in order to rehabilitate a memory and memories the amnesic francophone Caribbeans need recovering. An archive is as much the arts that chronicle the present as it is the filmographies produced on reels that chronicled the past. In other words, the uproar of uprootedness and brainwashing should find a path to a healing process, a reflection to a curing process against amnesia and deculturation.
The corporealities bear the semens of ancestral struggles and secular iinternalizations of movements and agencies against the oppressive machines and rituals of enslavements. Thus, can be valued here, and refined as well, the strength of the flesh and the poetics which transcended the Middle Passage. Hence, for instance, the Congo marks in the Caribbean dances that emerged apart, on distinct territories and estranged under different duress and bondage. ; or else the reparation attempts at finding a new choreographical, bodily syntax and writing new narratives.
Finally, intersectionally,  queerness is brought to the fore in a geopolitical conversation between postcolonial spaces : from undercovered to law-conquering stances, LGBTQTIA+ identities are explored and demonstrate the rainbowy spectrum of attitudes, some converging, others diverging from the matter-of-factedly integrative models and strategies. Implicitly, and meshed altogether, is the gender issue which without any doubt crosses all various chapters, although (obviously) intermingled with racial
In conclusion, what we found are an infra-conversation, an philosophical infra-trend, an infra-consciousness which out-mainstreams the dominant narrative.

Either living or non-living, everything has an identity, a name or a persona. Identities correspond with lives. The objective of this paper is to understand the identity of the Indian images especially religious images, the icons or any specific object which we today call a piece of art and their relations with the receivers, viewers etc. We have to analyze whether the identity of these religious images or secular images changes by the time or they remain static. When studying a piece of art or any religious icon or a secular icon, is the intrinsic life of that object weighs more or the explicit life history? These are some set of questions which are addressed by Professor Richard H. Davis in his book Lives of Indian Images. While analyzing the lives of the Indian objects he uses a holistic approach of blending analytical tools of anthropology and literary criticism. He uses the approach of Igor Kopytoff's "cultural biographical" method and the processual approach to study the object in a society where we can see the object's fluctuating status and negotiating social value and its transformation over the time, in short its multiple identities and functions attached with particular space and time. He uses the "interpretative communities" from the reader response literary theory formulated by literary theorist Stanley Eugene Fish, by this, he conveys that an image tends to be perceived differently by the different set of people or community where they come from, therefore, a dynamic relationship is established between the object and the person interpreting the meaning of the object. Therefore, the village community received the Didarganj Yakshi, as mother goddesses and started worshipping it while the colonial officers and archaeologist saw it as an art object from the past which needed to be preserved in a museum. Not only the Didarganj Yakshi, then becomes an art object from the Mauryan times but also a site of power negotiation and appropriation, a contest between the villagers and the colonial officers for its charge and in the last few decades, an identity of a magnificent Indian Art as it travelled various international museums representing Indian art and its ancient past. In the first chapter, Prof. Davis discusses the Vrisabhavahana Shiva icon from the Chola temple Svetaranyeshvara temple of Tiruvengadu, Thanjavur which enjoyed the Chola patronage but during the war years it rested hidden and then finally unearthed in 1951, and then travelled across the world museums with different labels like In the Image of man in London etc. The main proposition here is that the icon of Vrisabhavahana is perceived differently by the different set of people. When the icon was shown in the museum it attracted so much attention for its aesthetic, its physical appearance and placed in the large hall with other art works but for people of the eleventh century it would have been a placed with a linga mulamurti and as a spiritual being with an eye of devotion and even today, the worshipers would prefer it to see in a temple

Workshop “Gendering Fascism”
Date and time: July 29, 2021 (Thursday), 9:00-15:00 MET
Online-Workshop organized by Andrea Germer and Jasmin Rückert, Department of Japanese Studies, Heinrich Heine University, Düsseldorf.

The workshop is organized as part of the research project “Gendering Fascism”, funded by the German Research Foundation (DFG). As an outcome of the workshop we aim to publish an essay collection.

We invite interested scholars to submit abstracts (of up to 250 words) to the organizers (rueckej@hhu.de) by 21 February 2021.

Abstract:
Today, human resources are the main asset of organizations. In this regard, management can play a decisive role in increasing the efficiency of human resources. The Cultural Heritage Organization is one of the administrations that is established with the aim of preserving cultural assets and managing tourism. The concern raised here is to explain the effective relationship between the Cultural Heritage and Tourism Organization with human resources and management issues. In order to solve this problem, both quantitative and qualitative methods have been used. According to the topic, the research method used in terms of library-field environment is applied in terms of purpose, cross-sectional data collection time, descriptive-survey research method and correlational and causal. The statistical population is selected among university experts and officials and all employees of the Cultural Heritage, Handicrafts and Tourism Organization. The validity of the researcher-made questionnaire was confirmed through face, content and structure validity and its reliability is determined with Cronbach's alpha coefficient and combined reliability. In the qualitative part, the results of the interview were coded using software (MAXQDA) and in the quantitative part, descriptive and inferential statistics (structural equation modeling, Friedman test) were used. The results showed that the systematic model of human resource management with an efficient approach in the Organization of Cultural Heritage, Handicrafts and Tourism has three dimensions of input, process and output. Moreover, the input dimension has two components: employee motivation and work conscience, in addition, the process dimension has three components: employee retention, training, and talent management. The third dimension of the system model also includes the productivity of human resources.
Research objectives:
1. Identifying the dimensions and components of the system model of human resource management in the Cultural Heritage, Handicrafts and Tourism Organization.
2. Determining the systemic fit of human resource management with a productive approach in the Cultural Heritage, Handicrafts and Tourism Organization.
Research questions:
1. What are the dimensions and components of human resource efficiency in the Cultural Heritage, Handicrafts and Tourism Organization?
2. What system model can be provided for human resource management with an efficient approach in the organization of cultural heritage, handicrafts and tourism?
Keywords:
System Model; Human Resource Management;  Cultural Heritage; Organization;  Handicrafts and Tourism;  Efficiency.