Contemporary Art UK (Art World Series)

Adventures Close to Home: the British art scene from “then” to “now” is an introductory essay to the forthcoming Art World Series published by Blackdog to cover contemporary art in the United Kingdom. Previous titles have looked at North America, South America and Eastern Europe.

Contemporary Art UK (Art World Series)

Adventures Close to Home: the British art scene from “then” to “now” is an introductory essay to the forthcoming Art World Series published by Blackdog to cover contemporary art in the United Kingdom. Previous titles have looked at North America, South America and Eastern Europe.

Political feminism: Activist art in Australia in 2015

Brisbane-based artist and Founding Co-Director of LEVEL artist run initiative Courtney Coombs discusses feminist activist art practice in Australia. Recent discussions both in the art world and beyond have increased the profile and demystified the notion of feminism in the twenty-first century, and the term has once again become integrated into mainstream discussion internationally and in Australia. Now that pop music star Taylor Swift has declared herself a feminist, you could be persuaded that the 'f' word has finally become socially acceptable. However, while many artists have adopted the feminist label across the country, it often feels like feminism has become a lifestyle choice rather than a political one. When the badge is so readily worn by many, society can be fooled into thinking that there is no more work to be done. With the 'f' word once again acceptable while the 'p' word (patriarchy) remains so pass , how are artists responding to the changed conditions but continued imposition of what bell hooks has described as the 'imperialist white supremacist capitalist patriarchy'?

“PROVINCIALISM, PICKING SIDES AND BIAS: EFFECTS OF GEOGRAPHY ON MEDIA COVERAGE OF CRYSTAL BRIDGES MUSEUM OF AMERICAN ART, 2005-10.”

The development of Crystal Bridges Museum of American Art in Bentonville, Arkansas, by Wal-Mart heiress Alice Walton has prompted diverse coverage from print and online media. This investigation looked at trends in news stories and commentary from 2005-10 to show how the location of a medium affected coverage. Through the author’s own observations and interviews with journalists and other interested parties, several trends emerged. Media outlets outside Arkansas portrayed the museum as trying to plunder the cultural heritage of local communities and relied partly on the museum’s association with Wal-Mart and stereotypes of Arkansas to frame coverage. Arkansas media, faced with limited cooperation from the museum’s public relations apparatus, typically played a cheerleader role, at times overemphasizing the importance of the collection in the art world and showcasing few critical voices in stories about acquisitions and other areas of the museum’s development.

The Craftsman : an illustrated monthly magazine in the interest of better art, better work, and a better and more reasonable way of living.

Subtitle varies.