浅谈中国现代女性艺术的特点及形成原因

中国现代女性艺术是20世纪90年代的新生事物,它既不同于以往的女性艺术,也与西方女权主义艺术存在很大差别,有其自身的特点和形成原因,并有其独立的美学品格.     

‘Hold that Pose!’ Photography and kabuki in Kitano Takeshi's Kikujiro

This article examines Kitano Takeshi's film Kikujiro (Kikujirō no Natsu, 1999) from two directions: first, as an as an experiment in moving versus still photography, and second, as an exploration of time, memory and Japanese identity. I argue that it is in Kitano's cinematic use of elements from the kabuki drama that the two aspects come together. Kitano plays upon the conventions of both kabuki and film media to highlight the significance of the ‘still shot’ as it functions in human memory. By presenting moments of the story in the format of a child's photograph album, Kitano is able to explore ideas of ‘adult’ and ‘child’ as equally arbitrary constructions. Throughout Kikujiro, Kitano draws on a rich tradition of film, drama and television convention in order to explore the idea of where identity comes from – does it come from the past, the present, or do we make it up ourselves? Kitano places emphasis on the still mie pose to heighten emotion and draw attention to the present moment. By contrasting this method against that of photography, Kitano juxtaposes past and present modes of expression, enabling him to interrogate notions of time and the supposed timelessness of art. Finally, Kitano's critical use of the past locates identity not in some distant, unobtainable myth of the nation, but in the lived experience of each individual as a human being.     

Representations of crime,power and social decay in the South African post-colony in the film Gangster’s Paradise: Jerusalema (2008)

The film Gangster’s Paradise: Jerusalema, released on August 29, 2008, decries the proliferation of crime, violence and social decay in the South African post-colony. The aim of this article is to interrogate the banality in the use of violence and power in the South African post-colony. The filmic narratives of Gangster’s Paradise: Jerusalema reveal that behind the ‘rainbow’ façade presented by South Africa, one encounters festering poverty in ‘non-white’ communities, racial acrimony, broken promises, social and class struggles, and tales of betrayal of the majority of black people by the elite black leadership which now sit comfortably in the seats vacated by their former colonisers. An analysis of the narratives of the film Gangster’s Paradise: Jerusalema permits one to locate apartheid-based economic disparities as still haunting mainly ‘non- white’ local communities, although some whites have not been spared by the vicious new normal of poverty and the effects of corruption. This interpretation is further questioned in the film which shows that, after apartheid, the nationalist leadership encouraged a negative culture of entitlement. The irony in the film is that the masses are also tainted in so far as they commit crimes against other ordinary people and refuse to take responsibility or, rather in an escapist way, blame all the woes of the post-colony on apartheid. Thus, the narratives of Gangster’s Paradise: Jerusalema beg the question: What is going wrong with the dream of democracy for all, irrespective of race, that was the founding principle of the new nation?     

论民族影视文化对少数民族地区构建和谐文化的影响及对策

民族影视文化是少数民族地区构建和谐文化的题中要义。民族地区构建和谐文化必须充分发挥民族影视文化的优势,为构建和谐文化提供精神动力;政府必须积极引导影视文化发展,规范影视文化市场准入,营造良好气氛引导民族影视文化参与东南亚影视文化交流与互动;积极整合非政府组织的资源,推进民族影视文化走出去战略,对构建民族地区和谐文化具有重要作用。     

Judith Scott’s What is Property?: an inquiry into principles of dependency,propriety, and self-possession of an “outsider” artist

The essay addresses the politics of biography in the interpretation and reception of “outsider artist” Judith Scott’s work. Drawing from feminism, disability studies, and Alexander Kluge and Oskar Negt’s History and Obstinacy (1981) and its political economy of labor power, the essay proposes a new method of analysis which would foreground Scott’s work as a mode of institutional critique. Kluge and Negt ask “Can capital say ‘I’?.” The essay argues that Scott’s work compels a concomitant questioning of this “I” and the very terms of biography, authorship, and ownership that undergird the myths – and the institutions – of the “outsider” and her “art.”     

A Life in Pictures: Looking for Elizabeth Senior

This essay follows the author’s search for forgotten art historian Elizabeth Senior (1910–41). Using a quest narrative, it traces the process undertaken to piece together the life story of a remarkable young woman, including Internet research, visits to archives and correspondence with family members. Killed at just aged 30 by a bomb during the Blitz in 1941, Senior left a quite substantial body of editorial work and writing. Editress for the inaugural volumes in Allen Lane’s King Penguin series, Senior also wrote multiple reviews for the Burlington Magazine and the British Museum Quarterly, as well as her own art historical books on portraits of Henry VIII and his wives, and on portraits of Christ (co-authored with Ernst Kitzinger). A collaborator and friend to many Jewish émigré art historians, including The Story of Art author Ernst Gombrich, Senior played an important role in facilitating the safe passage of many fleeing the Nazis for England in the 1930s and 1940s. Unmarried at the time of her death, Senior was survived by a 10-week-old baby, whom she had stashed under a table for safety when a bomb landed on her flat.     

Black organs and optics: gazing at viscera in the work of Doreen Garner

Between Doreen Garner’s performance The Observatory and sculpture Black Ocean/Big Black, a significant divergence in gazes and spaces emerges. On the one hand, The Observatory arguably evokes a metaphorical nexus between body, flesh, organs, and land – a move that integrates archaeological and clinical gazes into a black female optic of pleasure wherein an oppositional gaze disidentifies the theatrical and scopophilic framing of black women’s bodies. The author argues that while Garner’s vitrine-enclosed performances, which elicit several gazes at once, signify a geological position and attempt to exhume the gory archives of black women’s bodies in art and science, her sculptural installation Black Ocean signals a queer liquidation and kinetics of black flesh.     

隆回花瑶民间艺术研究

花瑶民间艺术和花瑶民俗是民族民间传统文化瑰宝,但目前人们对花瑶民族风情与民间文化的认识,无论是从当地的政府部门还是从学术界来说,大多是从经济学、民俗学、文化学、社会学和人类学等角度来研究的,还没有或很少有人从艺术学的角度来认识和鉴赏花瑶民间文化的艺术特征与美学价值.     

批判性思维·艺带教育·公安学员创新能力

在以创新为灵魂的当今时代,个体不仅需要全面、和谐、自由、充分的发展,更需要独创的有个性特色的发展,才能适应瞬息万变的社会变革的要求,才能对国家、民族和人民的发展作出创造性的贡献。创新能力的培养与提高离不开批判性思维,艺术教育中的批判性思维有利于公安学员主体意识的培养、有利于公安学员个性特点的培养、有利于公安学员灵感思维能力的培养,艺术教育中的批判性思维将直接为公安学员创新能力的培养打下坚实的基础。