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The emergence and development of any art form are always intertwined with various social and cultural phenomena of their time, and artistic representations of women are no exception. https://ow.ly/kpUF50RJCfr

The history of tea recounts three patriarchs - Shennong, Lu Yu and Damo - representing Daoist, Ruist and Buddhist thought. Yet, tea is widely seen as feminine. I've often wondered if the answer is to be found in the question posed by Sherry Ortner way back in 1972, "Is Female to Male as Nature is to Culture?" Whether in China's Tang dynasty or during the British adoption of tea drinking, tea allowed for a greater sense of social participation for women. Meanwhile, the labor forces of colonial tea plantations consisted predominantly of native women. Scholar Ma Zhen recently took on this question of tea and gender in southwest China's Yunnan Province here: https://lnkd.in/gZsVTq3g Provocatively, I recall a comment by environmental historian of China, Mark Elvin, that "classical Chinese culture was as hostile to forests as it was fond of individual trees." I mean this not as a slight towards China so much as a general inquiry into the intersection of aesthetic expression and social practice.

Call for Papers: The Omnipotence of Dream Deadline for abstracts: 18th October 2024 Conference date: Wednesday 12th February 2025 2024 marks the centenary of the publication of Andre Breton’s Manifesto of Surrealism. This conference focuses on the practices and strategies of surrealism in historical and contemporary art and design. It coincides with a major exhibition, The Omnipotence of Dream taking place at Salford Museum and Art Gallery from 19 October 2024 – 23 February 2025. The conference aims to examine practitioners and practices in relation to the exhibitions and collections in the museum. Papers could include but are not limited to: • Recontextualisations of Surrealist artworks, with an emphasis on British Surrealist works • Discussions of how contemporary theories can enliven our understanding of historical or contemporary surrealist works, such as the Feral, Queer and crip theories and critical race theories • Explorations of how the strategies and techniques are used by surrealist artists employed today? • Considerations of how surrealist practices are used to examine contemporary issues such as the environment, conflicts, gender politics etc.? • We are also interested in the three thematic areas used by Alemani to structure the curation of the 59th Venice Biennale Arte (2022): o The representation of bodies and their metaphases o The relationship between individuals and technologies o The connection between bodies and the earth Please submit your abstract (max 300 words) and biography (no more than 100 words) to d.r.hancock@salford.ac.uk by 18th October 2024. Conference papers should be no more than 20 minutes in length. #callforpapers #surrealism Image: Marion Adnams – Variation on Red (1949), Salford Museum and Art Gallery collection.

I am happy to announce my participation as an artist and professor expert of contemporary art, for the edition: "Discovering Contemporary Art: Theories, Practices and Languages" by "Uni Auser Genova". My lecture will deal with the theme of the value of vandalism in post urban contemporary art.Thursday 21 November 2024 from 3.00 pm to 5.00 pm in the Conference Room of Villa Croce, Contemporary Art Museum. The History of Urban Art, a form of expression, that has origins that trace back to early human civilization. The practice began with prehistoric petroglyphs—symbolic carvings and images etched onto rock surfaces, serving as humanity’s first ventures into visual communication. These rudimentary forms of expression laid the groundwork for an expansive evolution of the language. In contemporary discourse, the significance of post-urban art continues to evolve, particularly in a digital age where art is often consumed online and shaped by popular consensus. Questions arise regarding the authenticity and value of art when colored by trends and algorithms. How do we measure an artist's worth in a society that sometimes reduces their narrative to mere digital presence, diluted over time and interaction? As we transitioned into the 21st century, a new phenomenon emerged: post-vandalism. This movement stands out for the use of a visual and narrative language of rupture, the subjects are often inspired by the charm of urban aesthetics, the periphery, the degradation, factors that reflect the state of health of contemporary society, at the same time, this current winks at Dadaism and pop art sharing a territory already explored in the official artistic context, but which remains in the society that oozes it from the pores of capitalism, these themes addressed by the new generations have been in the last 20 years the authentic reflection of the innovation of contemporary urban art, which has nothing to do with the redevelopment processes that many artists / decorators enhance and advertise as art, because if we talk about urban art then we talk about that labile border between activism and vandalism, but above the history of the artists that have created new languages, compared to what is known and exists.

🎨 Cultural Sensitivity in Art: A Recurring Theme in My Art History Degree 📚 The intersection of artistic genius and cultural sensitivity is a recurrent and significant theme in art history, one that continually shapes our understanding and appreciation of art. Gauguin's legacy is a poignant example of this complex dynamic. His work, while visually captivating and innovative, reflects the colonial attitudes of his time, raising important ethical questions about how we engage with such pieces today. 🤔 Throughout my Art History degree, this topic has been a focal point of discussion and analysis. We delve into the historical contexts of artists' lives and the prevailing attitudes of their eras, critically examining how these factors influenced their work. Gauguin’s relocation to Tahiti and his depiction of the local people through a Western, colonial lens is a prime case study. These paintings, though beautiful, often perpetuate stereotypes and exoticize their subjects, highlighting the power dynamics and cultural insensitivity of the colonial period. 🌍🎨 As Art Historians, we critically analyse how museums and galleries present such works, emphasising the need for educational contexts that inform the public about their historical and ethical dimensions. This approach is crucial in fostering a more inclusive and respectful appreciation of art. 🏛️🖼️ Museums and educational institutions are increasingly recognizing their responsibility to provide this context. They aim to educate audiences about the socio-political conditions under which art was created and the ethical implications involved. 📖👥 This theme is not just about acknowledging the past; it's about shaping a more conscientious and informed future for art appreciation. By continuing to question, learn, and advocate for culturally sensitive practices, we contribute to a richer, more respectful engagement with the diverse cultural heritage that enriches the art world. 🌟 For more insights on Gauguin and the broader discussion on cultural sensitivity in art, check out this thought-provoking article by Gina Fairley on ArtsHub. Engaging with these discussions enriches our understanding of art and its impact on society. What are your thoughts on balancing artistic appreciation with cultural sensitivity? 🤷♀️🤷♂️ #ArtHistory #CulturalSensitivity #ArtAppreciation #EthicsInArt #MuseumStudies

#Art and #Society in Theodor #Adorno’s #Aesthetic #Theory by Francisco Fianco Introduction The relations between art and society have always been complex, especially regarding to the dependence or submission of one in relation to the other. If a work of art, like any other cultural production, cannot be separated from the social context in which it occurs, it cannot be summed up to it or instrumentalized by it. Contemporary aesthetic phenomena lead us to perceive, much more explicitly than could ever have been perceived in the long historical trajectory of influence between both these spheres, that when devoid of its intrinsic truth, its autonomy, when subjugated to the social context, art itself loses its character of spontaneous production and becomes ideological propaganda. Of course, it would be naive to pretend that only in the XXth century, with the mass media advent, art would have been limited or influenced, although not consciously and intentionally, by a determined network of values and conceptions, even preconceptions, supported by a specific social, economic and historical configuration, which ended up giving these art works their individuality, enabling them to differentiate from the  thousands of other art works already produced. ... https://lnkd.in/ejaACtDm

Over the past decade, it has not been uncommon for institutions in some parts of Asia to hire Western curators for senior positions. However, it has been far more challenging for Asian curators to break into the Western art world. Finally, though, there are signs that is changing. Historically in the West, museums with an Asian focus and encyclopedic museums with an Asian department have tended to be the ones hiring curators of Asian descent. A classic example: Two years ago, Lesley Ma became the inaugural Ming Chu Hsu and Daniel Xu Associate Curator of Asian Art in the department of modern and contemporary art at the Metropolitan Museum of Art. The appointment attracted considerable attention in Ma’s native Taiwan, since she is the eldest daughter of former president Ma Ying-jeou. (In many Asian families, it’s worth noting, art has traditionally not been emphasized since it is viewed as a less-stable, less-lucrative career path.) #art #artwork #curators #artgallery #equity #museum #museums #galleries #artworld ##sociology #racism #trends #society #history #education #sustainability #popculture #philanthropy

I was recently interviewed about my experiences co-curating “Surrealism at the Harn.” If you’re interested in learning more, check out this link below!

I'm thrilled to share my latest publication, which explores the intersection of public art, colonial monuments, and the impact of artistic interventions. It focuses on the Monumental Shadows project by artist duo Various & Gould, who challenged the Otto von Bismarck monument in Berlin with a temporary paper-mâché intervention. Their symbolic tearing of this colonial-era figure raised important questions about European colonialism in public spaces, happening alongside the monument's restoration - a paradox of critique and preservation. This intervention, while temporary, sparked public debate, from support to hostility, highlighting the challenges of confronting entrenched narratives. The project shows how art can reshape societal views and prompt us to rethink how we engage with colonial symbols. Conducting this interview gave me the opportunity to bring the artists' voices to the forefront, and it feels like a "fifth shadow" in their project - extending their efforts into academic and media spaces to amplify their work. This collaboration, which includes SAVVY Contemporary's Colonial Neighbours - partners of Various & Gould, has been a vital part of the ongoing dialogue on decoloniality in public spaces. Special thanks to the artists Various & Gould and PAD Journal team, especially Tanja Schult and Brenda Schmahmann for their invaluable support for making it possible to bring these critical discussions to a wider audience. You can read the full article here:  https://lnkd.in/eNAC-udu #PublicArt #Decoloniality #ArtisticIntervention #ColonialMonuments #ArtistInterview #SocialChange #BismarckMonument

One of the most persistent themes across art history is the depiction of #vice — the moral failings, indulgences, and corruptions that have always been part of the human experience. However, as art has evolved, so too has the interpretation of vice. In the context of contemporary art, vice is not simply portrayed as a moral failing, but rather as a critique of larger societal structures—particularly those built on #power, #wealth, and #excess. Read the full article on our website: https://lnkd.in/dbeejJDP