News Update on contemporary art : May 2022

Theory in Contemporary Art Since 1985

Theory in Contemporary Art since 1985 is a groundbreaking anthology that captures the essence and the edge of the contemporary art scene. Provides the first truly comprehensive and international anthology of theory in contemporary art of the last two decades. Brings together a broad selection of important contributions to the fields of contemporary art, theory, and culture from established and emergent art voices, including scholars, curators, critics, and artists from around the globe. Focuses on key theoretical and aesthetic issues in contemporary art, such as cultural/multicultural theory, identity politics, AIDS, post-colonialism, globalization, and spectatorship. Includes editorial material and 44 illustrations. [1]

Kalliphobia in Contemporary Art

Dieter Roth’s kalliphobia, to attach to what has been epidemic in avant-garde circles since the early twentieth century the needed clinical term, employs the idiom of threat for something which in any context but that of art would be an occasion for rejoicing. Who would say that it “threatens” to be a beautiful day except an umbrella salesman—or that one’s daughter “threatens” to turn into a beautiful young woman, unless one fears the jealousy of the gods? In most contexts of human life, we would speak of the promise rather than the threat of beauty, so kalliphobia calls for diagnosis, since kalliphilia, to give it its antonym, is what one might think of as the aesthetic default condition for humans, connected with fortune and happiness, life at its best, and a world worth living in. How can beauty, since Renaissance times assumed to be the point and purpose of the visual arts, have become artistically contraindicated to the point of phobia in our own era.[2]

Mapping and Contemporary Art

If mapping is our most common operational metaphor today, there has been a related increase in the use of maps in art and attention from outside the art world is growing with new publications also on the rise. This article reviews aspects of this decades-long history and discerns patterns to the reception of this theme, suggesting that some revisions are needed – in particular a call for a wider cultural account than is often the case. Shifting epistemologies that consider art useful to cartography or science are discussed. This article therefore grapples with notions of what mapping in art has been and can be, opening out a history of definitions that have created expectations as well as regrettable limits, looking at who is mapping, and what is being mapped today, via contributions from artists.[3]

The Youth and Contemporary Art in Ghana

This study looked at Ghanaian youth and contemporary art vis a vis perception and challenges involved in contemporary art practices in Ghana. The current practice of contemporary art by Ghanaian youth has come under scrutiny, with many questioning the place of art in their practice and exhibitions. Using a triangulation of interviews, observation and survey, the study revealed that Ghanaian youth are actively embracing contemporary art and have developed an interest in exhibitions despite challenges of accepting the expanded media, processes and forms it could take. Despite the misunderstanding of what contemporary art should be and what should not, contemporary art is gradually gaining grounds and recognition in Ghana and placing the Ghanaian art on the international art scene. Although the youth have no privileged routes and a weak infrastructure for art making, recent teachings, coupled with a passion to train independent artists, commitment and collaborative efforts by the youth have made recent exhibitions trailblazers on the continent. Through more experimental projects, critique sessions and exhibitions, the Gown would surely get to Town. The passion for more experimental approaches to art making and exhibition signal greater and emancipated future for art in Ghana. [4]

Contour Classification in Drawing Based on Fuzzy Thinking

Throughout the history of art, the methods used to analyze the form of artwork have become important in this regard; they have focused on important aspects such as easier learning methods and better critique of artwork. In this regard, modern and contemporary art seems to require a new instrumental geometric and formal language to analyze the form with the help of meaningful geometry, in order to create a solution to formal challenges in recent decades, especially in the drawing field. Following the previous works, this paper presents a series of necessary definitions of meaningful visual forms, which, on the one hand, preserves the individuality of modern and contemporary art and, on the other hand, is a common language for artistic dialogue in the fields such as critique and art education. Here, we provide definitions for contour and classify base samples of it and its meaningful functions. These definitions are the basis for our next papers in the field of analyzing deformation in art.  [5]


[1] Kocur, Z. and Leung, S., 2004. Theory in contemporary art since 1985.

[2] Danto, A.C., 2004. Kalliphobia in contemporary art. Art Journal, 63(2), pp.24-35.

[3] Watson, R., 2009. Mapping and contemporary art. The cartographic journal, 46(4), pp.293-307.

[4] Nortey, S., Bodjawah, E.K. and Ampratwum, G., 2018. The Youth and Contemporary Art in Ghana. Asian Research Journal of Arts & Social Sciences, pp.1-13.

[5] Asasian, M., 2018. Contour classification in drawing based on fuzzy thinking. Asian research journal of mathematics, pp.1-13.

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